IV
A few words must be said about the sources from which information regarding the sacred dance is to be gained.
(1) There are a certain number of ancient inscriptions of various kinds upon which dancing is represented. On these the dancing is not always of a religious character; but it is not difficult to discern when it is religious and when secular. For example, there is a very valuable fragment of an Egyptian fresco belonging to the 18th dynasty (B.C. 1600-1450) in the British Museum[15], on which two nude women dancers are depicted; the dancing is accompanied by other women, some clapping their hands, and others playing the flute. But another part of the fresco shows clearly enough that the scene represents a banquet during which professional dancing is being performed for the entertainment of the guests. Though it is secular dancing that we have here the inscription is important from the present point of view, because the dancing, which is so graphically depicted, does not differ greatly from that shown on other Egyptian inscriptions, where it is unmistakably sacred. Egyptian inscriptions are those which offer most material here; one or two Hittite and Assyrian inscriptions are also available, and will be described later; but otherwise there is but little to be obtained from this source.
(2) Very prolific, on the other hand, is the second source, in the main, Greek. There are large numbers of vessels of different kinds—vases, bowls, cups, dishes, flasks, jugs, bottles, jars, pitchers, etc., on which dancing is depicted[16]; many of these represent secular dancing; some give dances of a quasi-religious kind, e.g. the dances of satyrs; but most of them depict religious dances, sometimes of gods and goddesses, at others of worshippers dancing in their honour; a very favourite subject is the dancing of Maenads. Belonging to this source are a variety of other kinds of vessels on which sacred dancing is depicted; sometimes the vessel itself is in the form of a sacred dance. Excavations in Cyprus have yielded some interesting material to which more detailed reference will be made below. Some coins have also been found which throw light on the subject. This source is, above all, valuable for showing us the kind of dances in vogue among the ancient Greeks, and bears out the truth of the remark that “the Greek dances may be divided and subdivided ad infinitum[17].”
(3) Our third source also offers abundance of material, viz. ancient literature; this source includes Egyptian literature (the Book of the Dead); the Old Testament and post-biblical Jewish literature; ancient Arabic literature; some of the ancient Church writers; and, above all, Greek and Latin classical authors, quotations from whom would alone fill a small volume.
(4) Lastly, there is modern literature. This must be divided into two classes. The first is a small and very unsatisfactory class: treatises which deal specifically with dancing. We have found this class of literature unsatisfactory for two reasons; first, because there is, comparatively, so little information of a tangible character to be gained from it; and, secondly, because no references are given to authorities, even when cited. Nevertheless, it is only fair to the respective authors to say that they are mainly concerned with modern dancing. As Crawley says, “there are no treatises written on any scientifically comprehensive lines[18].” With one exception, moreover, we have found the articles on the subject in all the well-known English and German Bible Dictionaries of extraordinarily little help. The exception is Hastings’ ERE; here articles by Crawley, Farnell and Blackman have been of real help, and the writer gratefully acknowledges his indebtedness to them.
As to the other class of modern literature, it can only be described as limitless; we refer to the vast number of volumes dealing with uncultured races. To mention even a tithe of those which have been used would be out of the question; references to a good many will be found in the following pages. But it is impossible for the present writer not to say how much he owes to the works of Sir J. G. Frazer; without their stimulus these pages would never have been written.
The material contained in this source would fill a number of volumes; we have restricted ourselves to a certain number of more or less typical illustrations chosen from a great mass.
More than a hundred and fifty years ago de Cahusac wrote in the Preface to his Historical Treatise on Dancing: “J’ai traité assez sérieusement un sujet qu’on ne regardera peut-être que comme très-futile.” The present writer hopes and believes that his effort will not be regarded as “très-futile”; for we in these days have come to realize more fully than was possible in the eighteenth century the significance of the well-known words of Terence:
Homo sum; humani nihil a me alienum puto.