THE SACRED DANCE
A STUDY IN COMPARATIVE FOLKLORE
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CAMBRIDGE UNIVERSITY PRESS
C. F. CLAY, MANAGER
LONDON: FETTER LANE, E.C. 4
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THE SACRED DANCE
A STUDY IN COMPARATIVE FOLKLORE
By
W. O. E. OESTERLEY, D.D.
Vicar of St Alban’s, Acton Green, W.
Examining Chaplain to the Bishop of London
CAMBRIDGE
AT THE UNIVERSITY PRESS
1923
PRINTED IN GREAT BRITAIN
PREFACE
The following study is an attempt to estimate the part played by the
Sacred Dance among the peoples of antiquity as well as among the
uncultured races in modern times; to account for its origin; to note the
occasions on which it was performed; and to indicate the purposes of its
performance.
The subject is more complicated than would appear at first sight; for
while the fact of its universal prevalence among all races at one time or
another of their cultural development shows how essential a rite it was,
its origin is obviously veiled in obscurity seeing that it developed in
prehistoric times. So that in seeking to throw light on the question of
its origin one has to try to get at the back of the mind of the savage,
and envisage things from his point of view; but that mind represents a
complex of such crass and illogical elements that one may easily be led
astray.
The purpose of the Sacred Dance, again, presents us with another set of
problems; for while in some cases this is clear enough, in others there
are alternatives which suggest themselves; and, further, it is probable
that a variety of motives not infrequently prompted its performance. To
disentangle these is not always easy.
On the other hand, the interest of the subject from the human point of
view is great; for, as an indispensable rite at all the crises of life,
it was evidently a means of emotional outlet. From the psychological
standpoint, therefore, its prevalence is not without importance. Indeed,
it will probably be thought that from the psychological side the subject
is inadequately treated in the following pages. And this is true, though
it does receive some attention; but in extenuation it must be said that
the writer’s main object has been merely to give some account of the
Sacred Dance as a widespread rite; and he feels that its treatment from
the psychological aspect would best be left to one who is an expert in
psychology.
That the Old Testament figures somewhat prominently in the following
pages is partly due to the fact that the writer has made a special study
of this body of literature, and it seemed wise to start from that with
which he was most conversant; but there is the further reason, as is
pointed out in the introductory chapter, that the Old Testament offers,
in most cases, an exceedingly convenient starting-point from which to
study the various “types” of sacred dance.
The writer desires to express his thanks to Dr Jevons, Dr Lukyn Williams,
and Dr S. A. Cook for a number of helpful suggestions, to Miss Bevan for
reading through the proofs, and his warm appreciation of the kindness and
courtesy of the Secretary of the University Press.
The minute care taken in pointing out oversights in the correction of
proofs, as well as other slips, is most gratefully acknowledged.
Finally, the writer would like to take this opportunity of thanking the
Curator of the Department of Greek and Roman Antiquities in the British
Museum for his ready help in arranging for the photographing of the Greek
Vase, representing a Maenad dancing in honour of Dionysos, which is
reproduced on the cover of this book.
W. O. E. O.
ST ALBAN’S VICARAGE, BEDFORD PARK.
_February 1923._
CONTENTS
PAGE
CHAPTER I
INTRODUCTORY
I. THE IMPORTANCE OF THE SACRED DANCE 1
II. THE MEANING OF THE SACRED DANCE 5
III. THE REASON FOR USING THE OLD TESTAMENT AS THE
STARTING-POINT IN THE INVESTIGATION 8
IV. THE SOURCES OF INFORMATION: 9
(1) Inscriptions 10
(2) Pottery, etc. 10
(3) Ancient Literature 11
(4) Modern Literature 11