ural desire to meat and drink Thalia
reduceth from brutish and uncivil to be sociable and friendly; and
therefore we say [Greek omitted] of those that are friendly, merry, and
sociable over their cups, and not of those that are quarrelsome and mad.
Erato, together with Persuasion, that brings along with it reason and
opportunity, presides over marriages; she takes away and extinguisheth
all the violent fury of pleasure, and makes it tend to friendship,
mutual confidence, and endearment, and not to effeminacy, lust, or
discontent. The delight which the eye or ear receives is a sort of
pleasure, either appropriate to reason or to passion, or common to them
both. This the two other Muses, Terpsichore and Melpomene, so moderate,
that the one may only tickle and not charm, the other only please and
not bewitch.

QUESTION XV. THAT THERE ARE THREE PARTS IN DANCING: [Greek omitted],
MOTION, [Greek omitted], GESTURE, AND [Greek omitted], REPRESENTATION.
WHAT EACH OF THOSE IS AND WHAT IS COMMON TO BOTH POETRY AND DANCING.

AMMONIUS AND THRASYBULUS.

After this, a match of dancing was proposed, and a cake was the prize.
The judges were Meniscus the dancing-master, and my brother Lamprias;
for he danced the Pyrrhic very well, and in the Palaestra none could
match him for the graceful motion of his hands and arms in dancing. Now
a great many dancing with more heat than art, some desired two of the
company who seemed to be best skilled and took most care to observe
their steps, to dance in the kind called [Greek omitted]. Upon this
Thrasybulus, the son of Ammonius, demanded what [Greek omitted]
signified, and gave Ammonius occasion to run over most of the parts of
dancing.

He said they were three,--[Greek omitted], [Greek omitted] and [Greek
omitted]. For dancing is made up of motion and manner [Greek omitted]
as a song of sounds and stops; stops are the ends of motion. Now the
motions they call [Greek omitted], and the gestures and likeness
to which the motions tend, and in which they end, they call [Greek
omitted]: as, for instance, when by their own motions they represent the
figure of Apollo, Pan, or any of the raging Bacchae. The third is [Greek
omitted]; which is not an imitation, but a plain downright indication
of the things represented. For as the poets, when they would speak of
Achilles, Ulysses, the earth, or heaven, use their proper names,
and such as the vulgar usually understand. But for the more lively
repres