This view will, I believe, receive support from the evidence of the ceremonial Dances which formed so important a part of ‘Fertility’ ritual, and which survive in so many places to this day. If we find these symbols reappearing as a part of these dances, their real significance can hardly be disputed. CHAPTER VII The Sword Dance The subject we are now about to consider is one which of late years has attracted considerable attention, and much acute criticism has been expended on the question of its origin and significance. Valuable material has been collected, but the studies, so far, have been individual, and independent, the much needed _travail d’ensemble_ has not yet appeared. One definite result has, however, been obtained; it is now generally admitted that the so-called Sword Dances, with the closely related Morris Dances, and Mumming Plays, are not mere survivals of martial exercises, an inherited tradition from our warrior ancestors, but were solemn, ceremonial (in some cases there is reason to believe, Initiatory) dances, performed at stated seasons of the year, and directly and intimately connected with the ritual of which we have treated in previous chapters, a ritual designed to preserve and promote the regular and ordered sequence of the processes of Nature. And here, again, our enquiry must begin with the very earliest records of our race, with the traditions of our Aryan forefathers. The earliest recorded Sword Dancers are undoubtedly the Maruts, those swift-footed youths in gleaming armour who are the faithful attendants on the great god, Indra. Professor von Schroeder, in _Mysterium und Mimus_, describes them thus:[1] they are a group of youths of equal age and identical parentage, they are always depicted as attired in the same manner, “Sie sind reich und prächtig geschmückt, mit Goldschmuck auf der Brust, mit Spangen an den Händen, Hirschfelle tragen sie auf den Schultern. Vor allem aber sind sie kriegerisch gerüstet, funkelnde Speere tragen sie in den Händen, oder auch goldene Äxte. Goldene Harnische oder Mäntel umhüllen sie, goldene Helme schimmern auf ihren Häuptern. Nie erscheinen sie ohne Wehr und Waffen. Es scheint dass diese ganz und gar zu ihren Wesen gehören.” The writer goes on to remark that when such a band of armed youths, all of the same age, always closely associated with each other, are represented as Dancers, and always as Dancers—“dann haben wir unabweislich das Bild eines Waffentanzes vor unseren Augen”—and Professor von Schroeder is undoubtedly right. Constantly throughout the _Rig-Veda_ the Maruts are referred to as Dancers, “gold-bedecked Dancers,” “with songs of praise they danced round the spring,” “When ye Maruts spear-armed dance, they (_i.e._, the Heavens) stream together like waves of water.”[2]