In an Appendix to his most valuable book the same writer gives a full description, with text, of the most famous surviving form of the Sword Dance, that of Papa Stour (old Norwegian _Pâpey in Stôra_), one of the Shetland Islands. The dance was performed at Christmas (Yule-tide). The dancers, seven in number, represented the seven champions of Christendom; the leader, Saint George, after an introductory speech, performed a solo dance, to the music of an accompanying minstrel. He then presented his comrades, one by one, each in turn going through the same performance. Finally the seven together performed an elaborate dance. The complete text of the speeches is given in the Appendix referred to.[21] The close connection between the English Sword Dance, and the Mumming Play, is indicated by the fact that the chief character in these plays is, generally speaking, Saint George. (The title has in some cases become corrupted into _King_ George.) In Professor von Schroeder’s opinion this is due to Saint George’s legendary _rôle_ as Dragon slayer, and he sees in the importance assigned to this hero an argument in favour of his theory that the “Slaying of the Dragon” was the earliest Aryan Folk-Drama. In _Folk-Lore_, Vol. X., a fully illustrated description of the Mumming Play, as performed at Newbold, a village near Rugby, is given.[22] Here the characters are Father Christmas, Saint George, a Turkish Knight, Doctor, Moll Finney (mother of the Knight), Humpty Jack, Beelzebub, and ‘Big-Head-and-Little-Wit.’ These last three have no share in the action proper, but appear in a kind of Epilogue, accompanying a collection made by Beelzebub.