A dithyrambus or dithyramb is, in Greek literature, a poem sung in honour of the god Bacchus or Dionysus, at his festivals. It was composed in a lofty and often inflated style: hence the term is applied to any poem of an impetuous and irregular character. Research Dithyrambus
Drama (from the Greek drew, I act), is a class of writings which almost entirely consist of dialogue, persons being represented as acting and speaking, and the pieces being usually intended to be acted on a stage by parties assuming the characters of the respective persons.
Its two great branches are tragedy and comedy, the former, roughly speaking, melancholy in character, the latter cheerful. The origin of the drama must be sought for in the love of imitation, and dramatic performances of some kind are to be met with probably among all nations.
Dramatic compositions are found in the Old Testament, for example in Job and the Song of Solomon; and ancient India and China both developed a dramatic literature of their own.
The European drama bad its origin in Greece. Both forms, tragic and comic, took their rise in the celebrations of the Greek festivals of Dionysus (Bacchus), at which hymns and chants were sung by choruses in honour of the god, and the chorus continued to be a prominent feature of the old Greek drama. Greek comedy commenced about 580-560 BC with Susarion, but it was long in attaining regular form. Of the old Greek comedy the chief representatives were Oratinus, Eupolis, Pherecrates, and Aristophanes - the last the greatest.
The invention of tragedy is generally ascribed to Thespis about 530 BC, who was followed by Phrynichus. But the true creator of tragedy was Aeschylus, in whose works and those of Sophocles and Euripides it found its most perfect expression. Thespis had only one actor, who from time to time relieved the chorus by declamation. Aeschylus changed this representation into real action by making use of two actors in addition to the chorus. Aeschylus also introduced masks; and by means of a long gown and the cothurnus, or buskin, the lofty stature of the heroes was imitated. A third actor was first introduced by Sophocles. The accommodations for the spectators were improved, and machinery and scenery introduced. The theatres, which had been formerly built of wood, were now large stone erections, capable of containing the greater number of the citizens. The regular drama among the Romans was borrowed from the Greeks. Plautus and Terence were imitators of the Greek comedy, Livius Andronicus (240 BC) of the Greek tragedy. Of the Roman tragedy, the dramas of Seneca are the only specimens extant.
In most modern European countries the regular drama took its rise in the mysteries, miracle-plays, and moralities of the middle ages. In Italy, however, it began with a reproduction in Latin of classical models. The earliest tragedy in Italian is Trissino's Sofonisba (1502). Regular comedies in Italian were written by Ariosto, Aretino, Macchiavelli, and others; and to the same period (15th and 16th centuries) belongs the Italian Pastoral Drama, which sprung from the ancient idylls, and aimed at a fanciful delineation of Arcadian and mythological scenes. Among the pastoral dramatists of this period are Poliziano, Tasso, and Guarini. The pastorals gave birth to the opera, early masters of which, so far as it may be included in the poetic drama, are Zenoand Metastasio. The Italian drama waned in the 17th century, but in the 18th genuine comedy and classic tragedy were restored, the former by Goldoni, the latter by Alfieri. Monti, Manzoni, and Niccolini are among the later writers of tragedy.
The other European nations cultivated the dramatic art much later than the Italians. The English and Spaniards devoted their attention to it almost at the game time; the former reaching their acme in William Shakespeare, the latter in Lope de Vega and Calderon. The history of the English theatre and the drama is naturally divided into two parts, the first of which begins with the reign of Elizabeth I and ends with the reign of Charles I. The rapid developmentof the drama during the reign of Elizabeth I was entirely unhampered by foreign influence. Lyly, Peele, Greene, Marlowe, William Shakespeare, Ben Jonson, Beaumont and Fletchor, Chapman, Webster, Middleton, Marston, Ford,and Massinger are among the chief names connected with the brilliant period of the English drama.
During the Commonwealth the Puritans prohibited all kinds of plays, and the theatres were shut up for thirteen years. With Charles II the drama reappeared, and exhibited a licentiousness hardly equalled by that of any other Christian nation. Among the chief names belonging to this period are Dryden, Otway, Lee, Shadwell, Wycherley, and Etherege. From the close of the 17th to that of the 18th century British comedy was cultivated with much success by Cibber, Farquhar, Congreve, Sheridan, and others.
During the 19th century many writers have been conspicuous by their dramas. Among the chief of these may be noted Byron, Coleridge, Landor, Shelley, Maturin, Talfourd, Milman, Sir Henry Taylor, the first LordLytton, Knowles, R. H. Home, Arnold, Browning, Swinburne, and Tennyson. Among other 19th-century writers for the stage, who, however, may be called playwrights rather than dramatists, may be named, Douglas Jerrold, Tom Taylor, Charles Reade, Thomas Robertson, W. G. Wills, H. Byron, R. Buchanan, Dion Boucicault, W. S. Gilbert, J. M. Barrie, A. W. Pinero, H. A. Jones, etc.
The French drama was in a miserable state before Corncille (1606-84), who indeed is looked on as the founder of the drama in France. Racine, Moliere, Voltaire, and in later times Hugo, are some of the other distinguished French dramatists. Since about 1820 a new dramatic school has been formed in France, which, departing from the ancient strictness of what is called the classic, approaches more and more to the German or British, or what is called the romantic school. The establishment of this school formed part of the general reaction against the excessive adherence to classic models in literature, the leader in the movement being Victor Hugo. C. Delavigne marks the transition from the classical to the beginnings of the romantic school, and among the 19th century dramatists may be mentioned A. de Vigny, George Sand, A. de Musset, Merimee, Ponsard, Augier, Scribe, Dumas the Younger, and Sardou.
The German drama is of later birth than any thus far mentioned, and for a long time the Germans contented themselves with translations and adaptations from the French. Leasing was the first who, by word and deed, broke the French sway (1755), and he was succeeded by Schiller and Goethe, who rank as the greatest of the more modern dramatists. Prominent names in the German drama are Kotzebue, Korner, Schlegel, Tieck, Brentano, Grillparzer, Hebbel, Ludwig, Gutzkow, Freytag, Laube, Von Moser, etc.
The Dutch drama begins with the classical tragedies of Koster in the beginning of the 17th century, and reached its highest in Vondel (1587-1659). Holberg, Heiberg, Oehlenschlager, Ibsen, and Bjornson are the chief names connected with the Scandinavian drama.
The advent of moving pictures during the 20th century revolutionised drama, and introduced film or movies to the audience, with the USA quickly developing a reputation for film making based in Hollywood, and by the end of the 20th century the Indian city of Mumbai had become a leading center of Hindi language film making producing more films than even Hollywood. Research Drama
The Eleusinian Mysteries were sacredrites anciently observed in Greece at the annual festival of Demeter or Ceres, so named from their original seat Eleusis. As a preparation for the greater mysteries celebrated at Athens and Eleusis, lesser Eleusinia were celebrated at Agras on the Ilissus. The greater Eleusinia were celebrated in the month Boedromion (September-October), beginning on the 15th of the month and lasting nine days. The celebrations, which were varied each day, consisted in processions between Athens and Eleusis, torch-bearing and mystic ceremonies attended with oaths of secrecy. They appear to have symbolized the old conceptions of death and reproduction, and to have been allied to the orgiastic worship of Dionysus (Bacchus). They are supposed to have continued down to the time of Theodosius I. Research Eleusinian Mysteries
James Archer was a Scottish painter. He was born in 1822 and died in 1904. He is best known for his portraits, although he also painted several large subject paintings including 'The Worship of Dionysus' and 'St Agnes - a Christian Martyr'. Research James Archer
Thespis was the founder of drama. He was a native of Icaria around 558 BC. Before his time choruses sang hymns in honour of Dionysus, relating his exploits. Thespis devised the idea of having an actor to play the part of Dionysus, and, by his dialogue with the leader of the chorus, to give dramatic vigour to the story. He is said to have also introduced the tragic masks, by wearing which one actor could support several characters. Research Thespis
In Greek mythology, Agave was a daughter of Cadmus and Harmonia. She married Echion. Agave, along with her sisters refused to recognise Dionysus and mocked their sister Semele's claims that Dionysus was the son of Zeus. As a result
Agave and her sisters were punished with madness, a madness that caused Agave to tear her own son Pentheus to pieces. Research Agave
Bacchus was a Greek and later Roman form of the Greek god Dionysus, and in this form was the god of wine and drunken happiness. He was the son of Jupiter and Semele, and was depicted in perennial youth, usually as a maiden, with a crown or vine or ivy leaves around his temples, and holding in his hand a spear bound with ivy. Tigers, lions or lynxes are yoked to his chariot, whilst he is accompanied by bacchanals, satyrs and his foster-father and preceptor Silenus.
He first taught the cultivation of the vine and the preparation of wine. To spread the knowledge of his invention he travelled over various countries and received in every quarter divine honours. Drawn by lions (some say panthers, tigers, or lynxes), he began his march, which resembled a triumphal procession. Those who opposed him were severely punished, but on those who received him hospitably he bestowed rewards. His love was shared by several; but Ariadne, whom he found deserted upon Naxos, alone was elevated to the dignity of a wife, and became a sharer of his immortality. Research Bacchus
Abbreviations
Research Dithyrambus
