See Cahusac, Traité Historique de la Dance, ii. i. t. i. p. 61, sqq. Footnote 981: It is said that certain ancient poets were called orchestic,—as Thespis, Phrynichos, Pratinas, Carcinos,—not only because they adapted the subjects of their pieces to the dances of the chorusses, but, also, because they instructed in dancing the chorusses of other dramatic writers. Athen. i. 39. The above poet, Carcinos, was likewise celebrated for being the father of three sons who danced in the tragic chorusses, and, from their extremely diminutive stature, obtained the name of Quails. Schol. Aristoph. Pac. 761. ----- In tragedy, such as it existed in the polished ages of Greece, the movements were slow and solemn, and, no doubt, full of dignity. The spirit of comedy required brisk and lively, and frequently tolerated, audaciously wanton dances; while the Chorus of the Satyric Drama would appear to have been rude and clownish rather than indecent, indulging in grotesque movements, ludicrous and extravagant gestures, and that rustic and farcical style of mimicry which may be supposed to have prevailed among the rough peasantry of Hellas. In classing the various dances, it will, perhaps, be sufficient if we divide them into lively and serious,[982] joining with the latter all such as attempted to embody a symbol or an allegory. ----- Footnote 982: Hesych. v. ἐμμέλεια. Sch. Aristoph. Nub. 532. Poll. iv. 99. Athen. xiv. 27, seq. Luc. de Saltat. § 22. 26. Plut. Symposiac. ix. 15. 1. -----