he dance was to express sentiment,
passion, and action by means of gestures. It soon developed into
highest artistic beauty, combined with the rhythmic grace peculiar to
the Greeks. Like the gymnastic and agonistic arts, the dance retained
its original purity as long as public morality prevailed in Greece:
its connection with religious worship preserved it from neglect.
Gradually, however, here also mechanical virtuosity began to supplant
true artistic principles.

The division of dances according to their warlike or religious
character seems objectionable, because all of them were originally
connected with religious worship. The distinction between warlike and
peaceful dances is more appropriate. Among the warlike dances
particularly adapted to the Doric character, was the oldest and that
most in favor. It dates from mythical times. Pyrrhichos, either a
Kretan or Spartan by birth, the Dioskuroi, also Pyrrhos, the son of
Achilles, are mentioned as its originators. The Pyrrhic dance,
performed by several men in armor, imitated the movements of attack and
defence. The various positions were defined by rule; hands and arms
played an important part in the mimetic action. It formed the chief
feature of the Doric gymnopaidia and of the greater and lesser
Panathenaia at Athens. The value attached to it in the latter city is
proved by the fact of the Athenians making Phrynichos commander-in-chief
owing to the skill displayed by him in the Pyrrhic dance.

Later a Bacchic element was introduced into this dance, which
henceforth illustrated the deeds of Dionysos. A fragment of a marble
frieze shows a satyr with a thyrsos and laurel crown performing a wild
Bacchic dance between two soldiers, also executing a dancing movement;
it most likely illustrates the Pyrrhic dance of a later epoch.

Of other warlike dances we mention the _karpeia_, which rendered the
surprise of a warrior plowing a field by robbers, and the scuffle
between them. It was accompanied on the flute.

More numerous, although less complicated, were the peaceful choral
dances performed at the feasts of different gods, according to their
individualities. With the exception of the Bacchic dances, they
consisted of measured movements round the altar. More lively in
character were the gymnopaidic dances performed by men and boys. They
were, like most Spartan choral dances, renowned for their graceful
rhythms. They consisted of an imitation of gymnastic exercises,
pa