The Abominations of Modern Society

by T. De Witt Talmage

Now there was in prison a minister by the name of John the Baptist, who had made much trouble by his honest preaching. He had denounced the sins of the king, and brought down upon himself the wrath of the females in the royal family. At the instigation of her mother, Salome takes advantage of the king's extravagant promise and demands the head of John the Baptist on a dinner-plate.

There is a sound of heavy feet, and the clatter of swords outside of the palace. Swing back the door. The executioners are returning, from their awful errand. They hand a platter to Salome. What is that on the platter? A new tankard of wine to rekindle the mirth of the lords? No! It is redder than wine, and costlier. It is the ghastly, bleeding head of John the Baptist! Its locks dabbled in gore. Its eyes set in the death-stare. The distress of the last agony in the features. That fascinating form, that just now swayed so gracefully in the dance, bends over the horrid burden without a shudder. She gloats over the blood; and just as the maid of your household goes, bearing out on a tray the empty glasses of the evening's entertainment, so she carried out on a platter the dissevered head of that good man, while all the banqueters shouted, and thought it a grand joke, that, in such a brief and easy way, they had freed themselves from such a plain-spoken, troublesome minister.

What could be more innocent than a birthday festival? All the kings from the time of Pharaoh had celebrated such days; and why not Herod? It was right that the palace should be lighted, and that the cymbals should clap, and that the royal guests should go to a banquet; but, before the rioting and wassail that closed the scene of that day, every pure nature revolts.

Behold the work, the influence, and the end of an infamous dancer!

I am, by natural temperament and religious theory, utterly opposed to the position of those who are horrified at every demonstration of mirth and playfulness in social life, and who seem to think that everything, decent and immortal, depends upon the style in which people carry their feet. On the other hand, I can see nothing but ruin, moral and physical, in the dissipations of the ball-room, which have despoiled thousands of young men and women of all that gives dignity to character, or usefulness to life.

Dancing has been styled "the graceful movement of the body adjusted by art, to the measures or tune of instruments, or of the voice." All nations have danced. The ancients thought that Pollux and Castor at first taught the practice to the Lacedæmonians; but, whatever be its origin, all climes have adopted it.

In other days there were festal dances, and funeral dances, and military dances, and "mediatorial" dances, and bacchanalian dances. Queens and lords have swayed to and fro in their gardens; and the rough men of the backwoods in this way have roused up the echo of the forest. There seems to be something in lively and coherent sounds to evoke the movement of hand and foot, whether cultured or uncultured. Men passing the street unconsciously keep step to the music of the band; and Christians in church unconsciously find themselves keeping time with their feet, while their soul is uplifted by some great harmony. Not only is this true in cultured life, but the red men of Oregon have their scalp dances, and green-corn dances, and war dances. It is, therefore, no abstract question that you ask me—Is it right to dance?

The ancient fathers, aroused by the indecent dances of those days, gave emphatic evidence against any participation in the dance. St. Chrysostom says:—"The feet were not given for dancing, but to walk modestly; not to leap impudently like camels."

One of the dogmas of the ancient church reads: "A dance is the devil's possession; and he that entereth into a dance, entereth into his possession. The devil is the gate to the middle and to the end of the dance. As many passes as a man makes in dancing, so many passes doth he make to hell." Elsewhere, these old dogmas declare—"The woman that singeth in the dance is the princess of the devil; and those that answer are his clerks; and the beholders are his friends, and the music are his bellows, and the fiddlers are the ministers of the devil; for, as when hogs are strayed, if the hogs'-herd call one, all assemble together, so the devil calleth one woman to sing in the dance, or to play on some instrument, and presently all the dancers gather together."

This wholesale and indiscriminate denunciation grew out of the utter dissoluteness of those ancient plays. So great at one time was the offence to all decency, that the Roman Senate decreed the expulsion of all dancers and dancing-masters from Rome.