Dithyramb

Definition and stakes

Roy C. Flickinger,  The Greek theater and its drama (1918)

“ The dithyramb and the comus, together with their derivatives, early tragedy and early comedy, were entirely choral. Actors were first developed in tragedy (see pp. 16 and 48, n. 1, above) . Inasmuch as the early dithyramb and early tragedy were devoted to the worship of Dionysus and since their choreutae were his attendant sprites (satyrs or sileni) , it followed that their songs would mostly take the form of prayers addressed to him, hymns in his honor, or odes descriptive of his adventures, sufferings, etc. A lyric duet between the coryphaeus and the other choreutae was also possible. ”
Source: Gutenberg

Portrait of William Smith William Smith,  A Smaller Dictionary of Greek and Roman Antiquities

“ The subjects of this Dithyrambic tragedy were not, however, always confined to Dionysus. Even Arion wrote Dithyrambs, relating to different heroes, a practice in which he was followed by succeeding poets. It is easy to conceive how the introduction of an actor or speaker independent of the chorus might have been suggested by the exarchs coming forward separately and making short off-hand speeches, whether learnt by heart beforehand, or made on the spur of the moment. ”
Source: Gutenberg

Portrait of Aristotle Aristotle,  Poetics (Bywater) — 1 (1909)

“ Homer and Empedocles, however, have really nothing in common apart from their metre; so that, if the one is to be called a poet, the other should be termed a physicist rather than a poet. We should be in the same position also, if the imitation in these instances were in all the metres, like the Centaur (a rhapsody in a medley of all metres) of Chaeremon; and Chaeremon one has to recognize as a poet. So much, then, as to these arts. There are, lastly, certain other arts, which combine all the means enumerated, rhythm, melody, and verse, e.g. Dithyrambic and Nomic poetry, Tragedy and Comedy ”
Source: Wikisource

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