[848]. Manley, Specimens of the Pre-Shaksperian Drama, I. 296 ff., from the Folk-Lore Journal, VII. 338 ff. The date of the play is 1779. For the Germanic sword-dance, see Müllenhoff, Festgabe für G. Homeyer, “Ueber den Schwerttanz,” p. 117. A bibliography of this subject is printed in the Zeitschr. f. Völkerpsychol., etc., XIX. 204, 416; especially see p. 223; and other references may be added from Paul’s Grundriss, II. i. 835, for the German. For the sword-dance in Shetland noted by Scott, see Lockhart’s Life, ed. 1837, III. 162. For other gymnastic plays, see the two books of Groos, Spiele der Thiere and Spiele der Menschen.
[849]. See Bruchmann, Poetik, p. 212.
[850]. Skill, of course, and rivalry are early provocatives of art in the dance. As to ball-playing as a part of it, references could be given for all times and climes.
[851]. See Old English Ballads, p. lxxvi.
[852]. Such as the author of the Complaynt of Scotland watched at their dancing, and noted the songs.
[853]. See below, Chap. VII.
[854]. See Uhland, Kl. Schr., III. 399 ff., and 484 ff., who gives other well-known instances of this panic dance, as well as the tarantella of Italy. The shaman, of course, even among a tribe as low as the Veddahs, dances himself into a fit.
[855]. See book of this title by Sir J. G. Wilkinson, London, 1848, I. 399.
[856]. It translates “dance” in Luke xv. 25.
[857]. See Kögel, Gesch. d. deutsch. Lit., pp. 7 ff.