To sum up, there is direct proof that the classic Greeks, in common with their Aryan forefathers, held the conception of a group of Beings, of mythic origin, represented under the form of armed youths, who were noted dancers, and whose activities were closely connected with the processes of Nature. They recognized a relation between these beings, and others of a less highly developed aspect, phallic demons, often of theriomorphic form. Thus the dance of the Kouretes should be considered as a ceremonial ritual action, rather than as a warlike exercise; it was designed to promote the fruitfulness of the earth, not to display the skill of the dancers in the handling of weapons. When we turn to an analogous group, that of the Korybantes, we find that, while presenting a general parallel to the Kouretes (with whom they are often coupled in mythologies), they also possess certain distinct characteristics, which form a connecting link with other, and later, groups. The Korybantes were of Phrygian origin, attached to the worship of the goddess Kybele, and Attis, the well-known Phrygian counterpart to the Phoenician Adonis, and originally the most important embodiment of the Vegetation Spirit. Röscher considers them to be of identical origin with the Kouretes, _i.e._, as elementary ‘daimons,’ but the Korybantes of Classic art and tradition are undoubtedly human beings. Priests of Kybele, they appear in surviving bas-reliefs in company with that goddess, and with Attis. The dance of the Korybantes is distinguished from that of the Kouretes by its less restrained, and more orgiastic character; it was a wild and whirling dance resembling that of the modern Dervishes, accompanied by self-mutilation and an unrhythmic clashing of weapons, designed, some writers think, to overpower the cries of the victims. If this suggestion be correct it would seem to indicate that, if the Dance of the Kouretes was originally an Initiation Dance, that of the Korybantes was Sacrificial in character. We shall see later that certain features in the surviving forms of the Sword Dance also point in this direction. The interest of the Korybantes for our investigation lies in the fact that here again we have the Sword Dance in close and intimate connection with the worship of the Vegetation Spirit, and there can be no doubt that here, as elsewhere, it was held to possess a stimulating virtue. A noticeable point in the modern survivals of these Dances is that the Dance proper is combined with a more or less coherent dramatic action. The Sword Dance originally did not stand alone, but formed part of a Drama, to the action of which it may be held to have given a cumulative force. On this point I would refer the reader to Professor von Schroeder’s book, where this aspect of the Dance is fully discussed.[17]