26. And Amphion the Thespiæan, in the second book of his treatise on the Temple of the Muses on Mount Helicon, says that in Helicon there are dances of boys, got up with great care, quoting this ancient epigram:— I both did dance, and taught the citizens The art of music, and my flute-player Was Anacus the Phialensian; My name was Bacchides of Sicyon; And this my duty to the gods perform'd Was honourable to my country Sicyon. And it was a good answer which was made by Caphesias the flute-player, when one of his pupils began to play on the flute very loudly, and was endeavouring to play as loudly as he could; on which he struck him, and said, "Goodness does not consist in greatness, but greatness in goodness." There are also relics and traces of the ancient dancing in some statues which we have, which were made by ancient statuaries; on which account men at that time paid more attention to moving their hands with graceful gestures; for in this particular also they aimed at graceful and gentlemanlike motions, comprehending what was great in what was well done. And from these motions of the hands they transferred some figures to the dances, and from the dances to the palæstra; for they sought to improve their manliness by music and by paying attention to their persons. And they practised to the accompaniment of song with reference to their movements when under arms; and it was from this practice that the dance called the Pyrrhic dance originated, and every other dance of this kind, and all the others which have the same name or any similar one with a slight change: such as the Cretan dances called ὀρσίτης and ἐπικρήδιος; and that dance, too, which is named ἀπόκινος, (and it is mentioned under this name by Cratinus in his Nemesis, and by Cephisodorus in his Amazons, and by Aristophanes in his Centaur, and by several other poets,) though afterwards it came to be called μακτρισμός; and many women used to dance it, who, I am aware, were afterwards called μαρκτύπιαι. 27. But the more sedate kinds of dance, both the more varied kinds and those too whose figures are more simple, are the following:—The Dactylus, the Iambic, the Molossian, the Emmelea, the Cordax, the Sicinnis, the Persian, the Phrygian, the Nibatismus, the Thracian, the Calabrismus, the Telesias (and this is a Macedonian dance which Ptolemy was practising when he slew Alexander the brother of Philip, as Marsyas relates in the third book of his History of Macedon). The following dances are of a frantic kind:—The Cernophorus, and the Mongas, and the Thermaustris. There was also a kind of dance in use among private individuals, called the ἄνθεμα, and they used to dance this while repeating the following form of words with a sort of mimicking gesture, saying—