The _Emmeleia_ was one of the most respected and popular dramatic dances of the Greek stage. Plato speaks of it as a dance of extraordinary gentleness, gravity and nobility, appropriate to the highest sentiments. It possessed extraordinary mobility and dramatic vigor, and yet was graceful, majestic and impressive. This dance, as it was produced on the Athenian stage, is said to have been so terribly realistic that many of the spectators rushed shocked from the theatre, imagining that they really beheld the incarnated sisters of sorrow whose very names they did not dare to mention. These awful ministers of divine vengeance, who were supposed to punish the guilty both on earth and in the infernal regions, appeared in black and blood-stained garments. Their aspect was frightful and their poses emanated an air of death. On their heads they carried wreathed serpents, while in their hands were wriggling scorpions and a burning torch. The music used for the _Emmeleia_ was supplied by an ‘orchestra’[B] and chorus. Both the musicians and the singers were divided into two groups, one of which was to the right, the other to the left of the dancers. This gives an idea of the so-called ‘strophic’ principle. There are allusions to the fact that the Egyptians used music to the Astral Dances in this form. Though we do not know the character of the Greek dance music, particularly of the _Emmeleia_, yet fragmentary allusions here and there give an idea that they were mostly in a minor key and of very changeable measure. Kirchoff, who made a special study of this dance, came to the theoretic conclusion that this was predominantly recitative and resembled partly the later operas of Wagner--of course, only melodically--and partly the Finnish _Rune_ tunes. As there was much action that could not be danced, the _Emmeleia_ required a perfect mimic technique and thorough knowledge of ‘eurhythmic’ rules. A few of the old Greek writers speak of dance music as dignified and stately, which attributed seriousness or sorrow to the grave steps, gracefulness and modesty to the gay and joyful poses. [B] As to the significance of this word, see Vol. I, pp. 120ff.