III
In the following discussion on the sacred dance we have made the Old Testament our starting-point. In spite of some drawbacks which will become very apparent, this course has its advantages. The Old Testament offers, either explicitly or implicitly, as we hope to show, evidence of the existence among the ancient Israelites of most of the typical sacred dances of antiquity. By “typical” we do not mean dances in their outward form, but in the intention and object for which they were performed. In dealing with sacred dances it is only by considering their intention and purpose that a classification of them can be attempted. The Old Testament gives within the compass of its pages certain points d’appui which afford convenient starting-points for the consideration of these different types of the sacred dance. Then, in each case we go on to the further investigation of these among various other races. From this we are often able to discern, with tolerable probability, the early underlying ideas which prompted the performance of the type of dance in question; for, as may well be supposed, it is not from the Israelites that we can expect to discover, excepting in the one case of the ecstatic dance, the root motives of the different types of the sacred dance. The most promising sphere for the discernment of these is among the uncivilized races; their naïve and unsophisticated naturalness reveals things which a gradually developing civilization obscures. Hence the devoting of a good deal of attention to the sacred dance among savages in the following pages.
Another advantage of using the Old Testament for our various starting-points is that the Israelites were in that stage of culture in which a people still retains many more or less primitive rites and customs while pushing forward on the path of cultural development; so that among them we are in touch with the past and yet experiencing the upward trend that is taking place. Crawley truly says that “it is in the middle stages of culture that dancing is seen at its highest development[14]”; that applies to the Israelites. It is like standing on an eminence and looking behind and before. That has its advantages.
At the same time, we are not blind to the drawbacks involved. For in some important instances the Old Testament is silent. We give reasons which we believe are sufficient to explain this silence. But when a particular type of the sacred dance is not mentioned in the Old Testament it must not be supposed that it did not exist; indirect evidence is forthcoming which makes it highly probable that the reverse is the case. For this reason we shall often refer to post-biblical Jewish custom and practice. Such a thing as the sacred dance is not likely, from the very nature of things, to have been an innovation of later ages; so that its existence in post-biblical times may well be regarded as the continuance of traditional custom; and if so, its existence among the Israelites of Old Testament times may be taken for granted.
Still, we realize the precariousness of seeming, in some cases, to build upon an apparently non-existing foundation; but the risk must be taken, and, as we hope to show, the evidence from subsequent times justifies the risk.
IV
A few words must be said about the sources from which information regarding the sacred dance is to be gained.
(1) There are a certain number of ancient inscriptions of various kinds upon which dancing is represented. On these the dancing is not always of a religious character; but it is not difficult to discern when it is religious and when secular. For example, there is a very valuable fragment of an Egyptian fresco belonging to the 18th dynasty (B.C. 1600-1450) in the British Museum[15], on which two nude women dancers are depicted; the dancing is accompanied by other women, some clapping their hands, and others playing the flute. But another part of the fresco shows clearly enough that the scene represents a banquet during which professional dancing is being performed for the entertainment of the guests. Though it is secular dancing that we have here the inscription is important from the present point of view, because the dancing, which is so graphically depicted, does not differ greatly from that shown on other Egyptian inscriptions, where it is unmistakably sacred. Egyptian inscriptions are those which offer most material here; one or two Hittite and Assyrian inscriptions are also available, and will be described later; but otherwise there is but little to be obtained from this source.