dithyrambic


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Related to dithyrambic: Dithyrambic poetry
See: ecstatic
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In a continuation of the visiting scenes of 862-1057, a Rebellious Son (1337-1371), the dithyrambic poet Kinesias (1372-1409), and a Sycophant (1410-1469) arrive to ask for wings.
Mann called Whitman the "lover of mankind across the ocean," "the herald of athletic democracy and of free states holding each other embraced" and "the hectic dreamer of perpetual bridal night." He praised Whitman's "dithyrambic Americanism" and the "erotic, all-embracing democratism" of his "raging and reverent song-sequence." In a rare burst of lyrical enthusiasm, a notable contrast to his formal and conventional eulogy of Gerhart Hauptmann, Mann extolled the "social eroticism," "the pure, sweet-smelling primitive healthiness of the singer of Manhattan .
Admittedly, this stance is discemible in parts of Walt Whitman's "Song of myself'--celebrated as the dithyrambic American declaration of personal identity--"I have no chair, nor church nor philosophy; / I lead no man to a dinner-table or library or exchange".
This image saturating his dithyrambic cycle Hymnen an die Nacht [Hymns to the Night], published in 1800, continues to be read by some in terms of obscure private experiences despite the twentieth-century work of Kate Hamburger, Martin Dyck, and others that show scientific connections.
Perhaps Chariton "played with the notion that Callirhoe was his novel Muse, distinctly un-Athenian, not too far from the name and the epic voice of 'Calliope,' and in any case vouching for a 'fair-flowing' narrative." To bear out this hypothesis Tilg could have added that Chariton lavishes dithyrambic praise on Callirhoe's voice: it has a musical echo, as of a lyre (2.
If Walt Whitman had occasion to put forth his notions of poetry and poets in dithyrambic form, we can well imagine the strain to run in this wise:
Epic poetry then, and the poetry of tragic drama, and, moreover, comedy and dithyrambic poetry, and most flute-playing and harp-playing, these, speaking generally, may all be said to be "representations of life." Many scholars have argued that Athenian tragedy should be read as a political art form where the concerns of the classical Greek polis are reflected in the dramas: not only are the main characters political figures (e.g., "kings") but frequently the dramas dealt with issues and problem of city life, dramatizing the interaction between citizens, or of citizens with the wider with political authority and with the law.
In Athenian festivals, poets competed at the Great Dionysia in dithyrambic and dramatic poetry, and at the Great Panathenaia in epic--specifically, in the performance of Homer.
The sense of audience identification with the choral presence on the tragic stage (orchestra) during the three-a-day, three day period of dramatic performances was probably amplified, Simon Goldhill writes, by the fact that the Dionysian festival was also an important occasion for Athenian men and boys to sing and dance competitively in dithyrambic choruses enrolling (in total) a thousand or so individuals and representing the tribes of the democratic polis (250).
[2] In The Birth of Tragedy Nietzsche argues that drama grew out of the collective experience of the dithyrambic chorus that sang and danced in obeisance to Dionysus.
Isn't it our cherished sovereign, the great Napoleon, our Emperor and King whose virtues, sacred head and glory were crowned by God Himself?" This dithyrambic style was maintained in later sermons pronounced by Rabbi Sinzheim on occasions such as Napoleon's birthday, the birth of his son, etc.