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[19] 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