Fuller information is forthcoming with regard to the ancient Syrians.
There is the interesting story of Wen-Amon, an Egyptian official who came to Byblos in Phoenicia in the 11th century B.C. Here we are told of how a noble youth, while he was sacrificing to his gods, was seized by the god who caused him to fall into a state of ecstasy; the hieroglyph depicts a man rushing forward with outstretched arms. While the youth is in this state he prophesies, declaring that a certain messenger who had arrived had indeed brought the image of a god, and must be received, for he had been sent by Amon. This occurs as the messenger with his god is on the point of being sent away. We are not concerned with the various details of this story; the point is that a youth is supposed to have been caused by the will of the god to fall into an ecstasy; the hieroglyph clearly implies an ecstatic dance; and as a result he reveals the arrival of another god brought by the messenger. He speaks while in this state of ecstasy words which are divinely put into his mouth, so that he is the mouthpiece of the god[191]. This is precisely the same idea as that of the spirit of Jahwe coming mightily upon Saul, he prophesies, and is turned into another man.
Another example is given by Heliodorus (Aethiopica, IV. 16 f.), who describes the sacred dance of the Tyrian seafarers in the worship of the Tyrian Herakles; he says:
And I left them there with their flutes and their dances, which they performed after the manner of the Assyrians [i.e. Syrians], hopping to the accompaniment of the quick music of the Pektides, now jumping up with light leaps, now limping along on the ground, and then turning with the whole body, spinning around like men possessed[192].
The limping here recalls the dance of the prophets of Baal, or rather of its earlier phase, and that of Jacob at Penuel. For the wilder phase of the dance of these prophets we have a very interesting parallel given by Apuleius of the ecstatic dance of the priests of the Syrian goddess. This is well worth giving in full; it occurs in The Golden Ass, VIII. 27, 28:
The day following I saw them apparelled in divers colours, and hideously tricked out, having their faces ruddled with paint, and their eyes tricked out with grease, mitres on their heads, vestments coloured like saffron, surplices of silk and linen; and some ware white tunics painted with purple stripes which pointed every way like spears, girt with belts, and on their feet were yellow shoes. And they attired the goddess in silken robe, and put her upon my back. Then they went forth with their arms naked to their shoulders, bearing with them great swords and mighty axes, shouting and dancing, like mad persons, to the sound of the pipe. After that we had passed many small villages, we fortuned to come to a certain rich man’s house, where, at our first entry, they began to howl all out of tune and hurl themselves hither and thither as though they were mad. They made a thousand gests with their feet and their heads; they would bend down their necks, and spin round so that their hair flew out at a circle; they would bite their own flesh; finally, everyone took his two-edged weapon and wounded his arms in divers places. Meanwhile, there was one more mad than the rest, that fetched many deep sighs from the bottom of his heart, as though he had been ravished in spirit, or replenished with divine power, and he feigned a swoon and frenzy, as if (forsooth) the presence of the gods were not wont to make men better than before, but weak and sickly.... And therewithal he took a whip, such as is naturally borne by these womanish men, with many twisted knots and tassels of wool, and strung with sheep’s knuckle-bones, and with the knotted thongs scourged his own body, very strong to bear the pain of the blows, so that you might see the ground to be wet and defiled with the womanish blood that issued out abundantly with the cutting of the swords and the blows of the scourge...[193].
The close parallel of this procedure of these Syrian priests with that of the prophets of Baal needs no insisting upon.
III
We turn now to Greek sources; and here the material is as abundant as it is interesting; the examples to be given are therefore restricted in number, but they will be sufficient to illustrate the important part that this type of dance played in Greek religious ritual.