Ancient Art and Ritual — Jane Ellen Harrison
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title : Ancient Art and Ritual Author : Jane Ellen Harrison Release date : November 18, 2005 [eBook #17087] Most recently updated: December 12, 2020 Language : English Other information and formats : www.gutenberg.org/ebooks/17087 Credits : Produced by Thierry Alberto, Juliet Sutherland, Louise Pryor and the Online Distributed Proofreading Team at https://www.pgdp.net *** START OF The title is Ancient Art and Ritual , but the reader will find in it no general summary or even outline of the facts of either ancient art or ancient ritual. These facts are easily accessible in handbooks. The point of my title and the real gist of my argument lie perhaps in the word “ and ”—that is, in the intimate connection which I have tried to show exists between ritual and art. This connection has, I believe, an important bearing on questions vital to-day, as, for example, the question of the place of art in our modern civilization, its relation to and its difference from religion and morality; in a word, on the whole enquiry as to what the nature of art is and how it can help or hinder spiritual life. I have taken Greek drama as a typical instance, because in it we have the clear historical case of a great art, which arose out of a very primitive and almost world-wide ritual. The rise of the Indian drama, or the mediæval and from it the modern stage, would have told us the same tale and served the like purpose. But Greece is nearer to us to-day than either India or the Middle Ages. Greece and the Greek drama remind me that I should like to offer my thanks to Professor Gilbert Murray, for help and criticism which has far outrun the limits of editorial duty. J. E. H. Newnham College, Cambridge, June 1913. NOTE TO THE FIFTH IMPRESSION The original text has been reprinted without change except for the correction of misprints. A few additions (enclosed in square brackets) have been made to the Bibliography. 1947 CONTENTS CHAP. PAGE I ART AND RITUAL 9 II PRIMITIVE RITUAL: PANTOMIMIC DANCES 29 III PERIODIC CEREMONIES: THE SPRING FESTIVAL 49 IV THE PRIMITIVE SPRING DANCE OR DITHYRAMB, IN GREECE 75 V THE TRANSITION FROM RITUAL TO ART: THE DROMENON AND THE DRAMA 119 VI GREEK SCULPTURE: THE PANATHENAIC FRIEZE AND THE APOLLO BELVEDERE 170 VII RITUAL, ART AND LIFE 204 BIBLIOGRAPHY 253 INDEX 255 ANCIENT ART AND RITUAL CHAPTER I ART AND RITUAL The title of this book may strike the reader as strange and even dissonant. What have art and ritual to do together? The ritualist is, to the modern mind, a man concerned perhaps unduly with fixed forms and ceremonies, with carrying out the rigidly prescribed ordinances of a church or sect. The artist, on the other hand, we think of as free in thought and untrammelled by convention in practice; his tendency is towards licence. Art and ritual, it is quite true, have diverged to-day; but the title of this book is chosen advisedly. Its object is to show that these two divergent developments have a common root, and that neither can be understood without the other. It is at the outset one and the same impulse that sends a man to church and to the theatre. Such a statement may sound to-day paradoxical, even irreverent. But to the Greek of the sixth, fifth, and even fourth century B.C. , it would have been a simple truism. We shall see this best by following an Athenian to his theatre, on the day of the great Spring Festival of Dionysos. Passing through the entrance-gate to the theatre on the south side of the Acropolis, our Athenian citizen will find himself at once on holy ground. He is within a temenos or precinct, a place “cut off” from the common land and dedicated to a god. He will pass to the left (Fig. 2 , p. 144) two temples standing near to each other, one of earlier, the other of later date, for a temple, once built, was so sacred that it would only be reluctantly destroyed. As he enters the actual theatre he will pay nothing for his seat; his attendance is an act of worship, and from the social point of view obligatory; the entrance fee is therefore paid for him by the State. The theatre is open to all Athenian citizens, but the ordinary man will not venture to seat himself in the front row. In the front row, and that only, the seats have backs, and the central seat of this row is an armchair; the whole of the front row is permanently reserved, not for individual rich men who can afford to hire “boxes,” but for certain State officials, and these officials are all priests. On each seat the name of the owner is inscribed; the central seat is “of the priest of Dionysos Eleuthereus,” the god of the precinct. Near him is the seat “of the priest of Apollo the Laurel-Bearer,” and again “of the priest of Asklepios,” and “of the priest of Olympian Zeus,” and so on round the whole front semicircle. It is as though at His Majesty’s the front row of stalls was occupied by the whole bench of bishops, with the Archbishop of Canterbury enthroned in the central stall. The theatre at Athens is not open night by night, nor even day by day. Dramatic performances take place only at certain high festivals of Dionysos in winter and spring. It is, again, as though the modern theatre was open only at the festivals of the Epiphany and of Easter. Our modern, at least our Protestant, custom is in direct contrast. We tend on great religious festivals rather to close than to open our theatres. Another point of contrast is in the time allotted to the performance. We give to the theatre our after-dinner hours, when work is done, or at best a couple of hours in the afternoon. The theatre is for us a recreation. The Greek theatre opened at sunrise, and the whole day was consecrated to high and strenuous religious attention.