Cookies Policy

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

'In the Mirror of the Dance': A Lucianic Metaphor in Its Performative and Ethical Contexts

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Mnemosyne

An intriguing paragraph in Lucian's De Saltatione (Salt. 81) draws upon a hodge-podge of ethical, philosophical and performative traditions in its attempt to argue that the spectating experience of pantomime dancing equips the viewer with a marvellous instrument of self-exploration and self-revelation: seeing himself in the 'mirror' of the dancer, the bearer of the gaze illuminates himself. A symbol of extraordinary range and complexity, the mirror has multiple associations with the problems of perceiving, evaluating and knowing the self. But, while in the moralising narratives of 'high' culture the mirror-like reflective surface tends to be located in the soul of the sage or the lives of illustrious individuals, in Lucian's dialogue it is the pantomime, as opposed to the wise man, who delights and educates his audience by virtue of a body that becomes a magical kaleidoscope of individual self-reflections. The present article elucidates the ways in which Salt. 81 uses the symbol of the mirror in order to align pantomime dancing with the prestige of moralising discourse and examines the 'dancer as mirror' metaphor as the most important Graeco-Roman pedigree of the 'mirror of drama' analogy that dominates the complex theatrical optics of the Medieval and Renaissance European stages.


Full text loading...


Data & Media loading...

Article metrics loading...



Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
    Mnemosyne — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation