The tragedies of Aeschylus, Sophocles, and Euripides were performed at Athens at a festival known as the Great Dionysia. This took place early in April, so that the time itself makes us suspect that its ceremonies were connected with the spring. But we have more certain evidence. Aristotle, in his treatise on the Art of Poetry, raises the question of the origin of the drama. He was not specially interested in primitive ritual; beast dances and spring mummeries might even have seemed to him mere savagery, the lowest form of "imitation;" but he divined that a structure so complex as Greek tragedy must have arisen out of a simpler form; he saw, or felt, in fact, that art had in some way risen out of ritual, and he has left us a memorable statement.
In describing the "Carrying-out of Summer" we saw that the element of real drama, real impersonation, began with the leaders of the band, with the Queen of the May, and with the "Death" or the "Winter." Great is our delight when we find that for Greek drama Aristotle divined a like beginning. He says:
"Tragedy--as also Comedy--was at first mere improvisation--the one (tragedy) originated with the leaders of the Dithyramb."
The further question faces us: What was the Dithyramb? We shall find to our joy that this obscure-sounding Dithyramb, though before Aristotle's time it had taken literary form, was in origin a festival closely akin to those we have just been discussing. The Dithyramb was, to begin with, a spring ritual; and when Aristotle tells us tragedy arose out of the Dithyramb, he gives us, though perhaps half unconsciously, a clear instance of a splendid art that arose from the simplest of rites; he plants our theory of the connection of art with ritual firmly with its feet on historical ground.
When we use the word "dithyrambic" we certainly do not ordinarily think of spring. We say a style is "dithyrambic" when it is unmeasured, too ornate, impassioned, flowery. The Greeks themselves had forgotten that the word Dithyramb meant a leaping, inspired dance. But they had not forgotten on what occasion that dance was danced. Pindar wrote a Dithyramb for the Dionysiac festival at Athens, and his song is full of springtime and flowers. He bids all the gods come to Athens to dance flower-crowned.
"Look upon the dance, Olympians; send us the grace of Victory, ye gods who come to the heart of our city, where many feet are treading and incense steams: in sacred Athens come to the holy centre-stone. Take your portion of garlands pansy-twined, libations poured from the culling of spring. . . .
'Come hither to the god with ivy bound. Bromios we mortals name Him, and Him of the mighty Voice. . . . The clear signs of his Fulfilment are not hidden, whensoever the chamber of the purple-robed Hours is opened, and nectarous flowers lead in the fragrant spring. Then, then, are flung over the immortal Earth, lovely petals of pansies, and roses are amid our hair; and voices of song are loud among the pipes, the dancing-floors are loud with the calling of crowned Semele."
Bromios, "He of the loud cry," is a title of Dionysos. Semele is his mother, the Earth; we keep her name in Nova Zembla, "New Earth." The song might have been sung at a "Carrying-in of Summer." The Horæ, the Seasons, a chorus of maidens, lead in the figure of Spring, the Queen of the May, and they call to Mother Earth to wake, to rise up from the earth, flower-crowned.
You may bring back the life of the Spring in the form of a tree or a maiden, or you may summon her to rise from the sleeping Earth. In Greek mythology we are most familiar with the Rising-up form. Persephone, the daughter of Demeter, is carried below the Earth, and rises up again year by year. On Greek vase-paintings the scene occurs again and again. A mound of earth is represented, sometimes surmounted by a tree; out of the mound a woman's figure rises; and all about the mound are figures of dancing dæmons waiting to welcome her.
All this is not mere late poetry and art. It is the primitive art and poetry that come straight out of ritual, out of actual "things done," dromena. In the village of Megara, near Athens, the very place where to-day on Easter Tuesday the hills are covered with throngs of dancing men, and specially women, Pausanias saw near the City Hearth a rock called "Anaklethra, 'Place of Calling-up,' because, if any one will believe it, when she was wandering in search of her daughter, Demeter called her up there"; and he adds: "The women to this day perform rites analogous to the story told."
These rites of "Calling up" must have been spring rites, in which, in some pantomimic dance, the uprising of the Earth Spirit was enacted.
Another festival of Uprising is perhaps more primitive and instructive, because it is near akin to the "Carrying out of Winter," and also because it shows clearly the close connection of these rites with the food-supply. Plutarch 2 tells us of a festival held every nine years at Delphi. It was called from the name of the puppet used Charila, a word which originally meant Spring-Maiden, and is connected with the Russian word yaro, "Spring," and is also akin to the Greek Charis, "grace," in the sense of increase, "Give us all grace." The rites of Charila, the Gracious One, the Spring-Maiden, were as follows:
"The king presided and made a distribution in public of grain and pulse to all, both citizens and strangers. And the child-image of Charila is brought in. When they had all received their share, the king struck the image with his sandal, the leader of the Thyiades lifted the image and took it away to a precipitous place, and there tied a rope round the neck of the image and buried it."
Mr. Calderon has shown that very similar rites go on to-day in Bulgaria in honour of Yarilo, the Spring God.
The image is beaten, insulted, let down into some cleft or cave. It is clearly a "Carrying out the Death," though we do not know the exact date at which it was celebrated. It had its sequel in another festival at Delphi called Herois, or the "Heroine." Plutarch says it was too mystical and secret to describe, but he lets us know the main gist.
"Most of the ceremonies of the Herois have a mystical reason which is known to the Thyiades, but from the rites that are done in public, one may conjecture it to be a 'Bringing up of Semele.'"
Some one or something, a real woman, or more likely the buried puppet Charila, the Spring-Maiden, was brought up from the ground to enact and magically induce the coming of Spring.
These ceremonies of beating, driving out, burying, have all with the Greeks, as with the savage and the modern peasant, but one real object: to get rid of the season that is bad for food, to bring in and revive the new supply. This comes out very clearly in a ceremony that went on down to Plutarch's time, and he tells us it was "ancestral." It was called "the Driving out of Ox-hunger." By Ox-hunger was meant any great ravenous hunger, and the very intensity and monstrosity of the word takes us back to days when famine was a grim reality. When Plutarch was archon he had, as chief official, to perform the ceremony at the Prytaneion, or Common Hearth. A slave was taken, beaten with rods of a magical plant, and driven out of doors to the words: "Out with Ox-hunger! In with Wealth and Health" Here we see the actual sensation, or emotion, of ravenous hunger gets a name, and thereby a personality, though a less completely abstracted one than Death or Summer. We do not know that the ceremony of Driving out Ox-hunger was performed in the spring, it is only instanced here because, more plainly even than the Charila, when the king distributes pulse and peas, it shows the relation of ancient mimic ritual to food-supply.
If we keep clearly in mind the object rather than the exact date of the Spring Song we shall avoid many difficulties. A Dithyramb was sung at Delphi through the winter months, which at first seems odd. But we must remember that among agricultural peoples the performance of magical ceremonies to promote fertility and the food supply may begin at any moment after the earth is ploughed and the seed sown. The sowing of the seed is its death and burial; "that which thou sowest is not quickened except it die." When the death and burial are once accomplished the hope of resurrection and new birth begins, and with the hope the magical ceremonies that may help to fulfil that hope. The Sun is new-born in midwinter, at the solstice, and our "New" year follows, yet it is in the spring that, to this day, we keep our great resurrection festival.
We return to our argument, holding steadily in our minds this connection. The Dithyramb is a Spring Song at a Spring Festival, and the importance of the Spring Festival is that it magically promotes the food-supply.
Do we know any more about the Dithyramb? Happily yes, and the next point is as curious as significant.
Pindar, in one of his Odes, asks a strange question:
"Whence did appear the Graces of Dionysos,
With the Bull-driving Dithyramb?"
Scholars have broken their own heads and one another's to find a meaning and an answer to the odd query. It is only quite lately that they have come at all to see that the Dithyramb was a Spring Song, a primitive rite. Formerly it was considered to be a rather elaborate form of lyric poetry invented comparatively late. But, even allowing it is the Spring Song, are we much further? Why should the Dithyramb be bull-driving? How can driving a Bull help the spring to come? And, above all, what are the "slender-ankled" Graces doing, helping to drive the great unwieldy Bull?
The difficulty about the Graces, or Charites, as the Greeks called them, is soon settled. They are the Seasons, or "Hours," and the chief Season, or Hour, was Spring herself. They are called Charites, or Graces, because they are, in the words of the Collect, the "Givers of all grace," that is, of all increase physical and spiritual.
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