As regards the group of symbols in general, Mr W. B. Yeats, whose practical acquaintance with Medieval and Modern Magic is well known, writes: "(1) Cup, Lance, Dish, Sword, in slightly varying forms, have never lost their mystic significance, and are to-day a part of magical operations. (2) The memory kept by the four suits of the Tarot, Cup, Lance, Sword, Pentangle (Dish), is an esoterical notation for fortune-telling purposes."[20]
But if the connection with the Egyptian and Chinese monuments, referred to above, is genuine, the original use of the 'Tarot' would seem to have been, not to foretell the Future in general, but to predict the rise and fall of the waters which brought fertility to the land.
Such use would bring the 'Suits' into line with the analogous symbols of the Grail castle and the treasures of the Tuatha de Danann, both of which we have seen to be connected with the embodiment of the reproductive forces of Nature.
If it is difficult to establish a direct connection between these two latter, it is practically impossible to argue any connection between either group and the 'Tarot'; no one has as yet ventured to suggest the popularity of the works of Chrétien de Troyes among the Gipsies! Yet the correspondence can hardly be fortuitous. I would suggest that, while Lance and Cup, in their associated form, are primarily symbols of Human Life energy, in conjunction with others they formed a group of 'Fertility' symbols, connected with a very ancient ritual, of which fragmentary survivals alone have been preserved to us.
This view will, I believe, receive support from the evidence of the ceremonial Dances which formed so important a part of 'Fertility' ritual, and which survive in so many places to this day. If we find these symbols reappearing as a part of these dances, their real significance can hardly be disputed.
CHAPTER VII
The Sword Dance
The subject we are now about to consider is one which of late years has attracted considerable attention, and much acute criticism has been expended on the question of its origin and significance. Valuable material has been collected, but the studies, so far, have been individual, and independent, the much needed travail d'ensemble has not yet appeared.
One definite result has, however, been obtained; it is now generally admitted that the so-called Sword Dances, with the closely related Morris Dances, and Mumming Plays, are not mere survivals of martial exercises, an inherited tradition from our warrior ancestors, but were solemn, ceremonial (in some cases there is reason to believe, Initiatory) dances, performed at stated seasons of the year, and directly and intimately connected with the ritual of which we have treated in previous chapters, a ritual designed to preserve and promote the regular and ordered sequence of the processes of Nature. And here, again, our enquiry must begin with the very earliest records of our race, with the traditions of our Aryan forefathers.
The earliest recorded Sword Dancers are undoubtedly the Maruts, those swift-footed youths in gleaming armour who are the faithful attendants on the great god, Indra. Professor von Schroeder, in Mysterium und Mimus, describes them thus:[1] they are a group of youths of equal age and identical parentage, they are always depicted as attired in the same manner, "Sie sind reich und prächtig geschmückt, mit Goldschmuck auf der Brust, mit Spangen an den Händen, Hirschfelle tragen sie auf den Schultern. Vor allem aber sind sie kriegerisch gerüstet, funkelnde Speere tragen sie in den Händen, oder auch goldene Äxte. Goldene Harnische oder Mäntel umhüllen sie, goldene Helme schimmern auf ihren Häuptern. Nie erscheinen sie ohne Wehr und Waffen. Es scheint dass diese ganz und gar zu ihren Wesen gehören."