[127] Cf. Souriau, L’esthétique du mouvement, p. 70.
[128] Bourgoing, Modern State of Spain, ii. pp. 299, 300.
[129] Vernon Lee and Anstrather Thompson, “Beauty and Ugliness,” in the Contemporary Review, vol. lxxii. 1897, p. 559: “To this quality of mere complexity of surface, pattern adds by its regularity the power of compelling the eye and breath to move at an even and unbroken pace. Even the simplest, therefore, of the patterns ever used have a power akin to that of march music, for they compel our organism to a regular rhythmical mode of being.”
[130] The expression “gymnastic,” as distinguished from pantomimic dance, is borrowed from Grosse, Die Anfänge der Kunst.
[131] That the dances of salutation and homage in most cases really are to be derived from the expression of joy has been shown by Spencer, Principles of Sociology, iii. p. 201, and might be corroborated by instances referring to all the details of complimentary ceremonialism.
[132] Carver, Travels, pp. 180-182 (Lake Pepin); Martin, Molukken, p. 57 (Lectimor); Polack, The New Zealanders, i. p. 88 (Maoris). Cf. also Rienzi, Océanie, iii. p. 170, on the frequent quarrels between Europeans and Maoris that have arisen from a misunderstanding of these kinds of salutation. Johnstone, Maoria, p. 49: “The war dance was practised both as a martial exercise and as an amusement, and was considered equally adapted to give honourable reception to friendly visitors or to intimidate an enemy on the field of battle.”
[133] Cf. the instances collected by Féré, Pathology of Emotions, pp. 360-390; and Godfernaux, Le sentiment et la pensée, pp. 65 sq. A powerful description of the mythogenic justifications by which anxiety creates to itself a reason is given in Maupassant’s poem “Terreur” in Des Vers, pp. 19, 20.
[134] Cf. on the infectious influence of dramatic performances, Cahusac, La danse, i. pp. 166, 167; ii. pp. 61, 62; Jacobowski, Anfänge der Poesie, pp. 127-129; Tarde, “Foules et sectes,” in Revue des deux Mondes, vol. cxx. (1893), especially p. 368. It is scarcely necessary to point out to how great an extent the emotional conveyance by means of dramatic action must have been strengthened by the chorus, which, by its laughter or wailing, affords a kind of model expression to the spectator. Possibly, indeed, the Greek chorus developed from a ceremonial in which chorus and audience were not distinct but identical—a ritual of wailings or rejoicings provoked by the recital of a traditional story. This view, curiously in advance of his times, is suggested by Brown, an eighteenth century philosopher (History of the Rise of Poetry, pp. 126-128): “How came it to pass that in the more barbarous periods the number [of the chorus] should be so much greater? Manifestly because that rude age bordered on the savage times, when the whole audience had sympathised with the narrative actor, and became as one general choir.”
[135] Engel, Ideen zu einer Mimic, i. pp. 86-88; cf. also Seckendorff, Vorlesungen über Declamation und Mimik, ii. p. 5; Sully-Prudhomme, L’expression dans les-beaux arts, pp. 96, 97.
[136] Lichtenberg, Briefe aus England, Vermischte Schriften, iii. p. 262.