PREFACE
The following study is an attempt to estimate the part played by the Sacred Dance among the peoples of antiquity as well as among the uncultured races in modern times; to account for its origin; to note the occasions on which it was performed; and to indicate the purposes of its performance.
The subject is more complicated than would appear at first sight; for while the fact of its universal prevalence among all races at one time or another of their cultural development shows how essential a rite it was, its origin is obviously veiled in obscurity seeing that it developed in prehistoric times. So that in seeking to throw light on the question of its origin one has to try to get at the back of the mind of the savage, and envisage things from his point of view; but that mind represents a complex of such crass and illogical elements that one may easily be led astray.
The purpose of the Sacred Dance, again, presents us with another set of problems; for while in some cases this is clear enough, in others there are alternatives which suggest themselves; and, further, it is probable that a variety of motives not infrequently prompted its performance. To disentangle these is not always easy.
On the other hand, the interest of the subject from the human point of view is great; for, as an indispensable rite at all the crises of life, it was evidently a means of emotional outlet. From the psychological standpoint, therefore, its prevalence is not without importance. Indeed, it will probably be thought that from the psychological side the subject is inadequately treated in the following pages. And this is true, though it does receive some attention; but in extenuation it must be said that the writer’s main object has been merely to give some account of the Sacred Dance as a widespread rite; and he feels that its treatment from the psychological aspect would best be left to one who is an expert in psychology.
That the Old Testament figures somewhat prominently in the following pages is partly due to the fact that the writer has made a special study of this body of literature, and it seemed wise to start from that with which he was most conversant; but there is the further reason, as is pointed out in the introductory chapter, that the Old Testament offers, in most cases, an exceedingly convenient starting-point from which to study the various “types” of sacred dance.
The writer desires to express his thanks to Dr Jevons, Dr Lukyn Williams, and Dr S. A. Cook for a number of helpful suggestions, to Miss Bevan for reading through the proofs, and his warm appreciation of the kindness and courtesy of the Secretary of the University Press.
The minute care taken in pointing out oversights in the correction of proofs, as well as other slips, is most gratefully acknowledged.
Finally, the writer would like to take this opportunity of thanking the Curator of the Department of Greek and Roman Antiquities in the British Museum for his ready help in arranging for the photographing of the Greek Vase, representing a Maenad dancing in honour of Dionysos, which is reproduced on the cover of this book.
W. O. E. O.
St Alban’s Vicarage,
Bedford Park.
February 1923.