A brief glance at some rites, analogous to those just referred to, as existing among some other peoples will not be without interest. The idea of “royalty” attaching to the bridal pair is seen in Morocco at the present day; the bridegroom is looked upon and treated as a sultan, and his bachelor friends act as his ministers (_wazara_)[327]. Among the Malays the bride and bridegroom are called _Raja sari_, “the sovereigns of the day,” and “it is a polite fiction that no command of their’s, during their one day of sovereignty, may be disobeyed[328].” Many similar examples could be given; the underlying idea is that by a change of identity[329],—that it is purely fictitious is no matter—the dangers which are conceived of, however vaguely, as attending those about to be joined in marriage, are mitigated. Westermarck says: A very large number of marriage ceremonies spring from the feeling or idea that bride and bridegroom are in a state of danger, and therefore stand in need of purification and of special protection against magical influences and evil spirits; in this class of customs he includes dancing[330]. _Why_ dancing should be supposed to have this effect is another question to which, presumably, different answers will be given. For our own part, we are inclined to believe that at the bottom of it lies a connexion with the original idea and purpose of the sacred dance, viz. the imitation, and therefore the pleasing, of supernatural powers, as already pointed out (see p. 22); not that there was necessarily any consciousness of this; but from the earliest times dancing had had this purpose, and the custom continued without a reason for it being assigned. Not but what the rite as a marriage ceremony may, and doubtless did, have other purposes as well; but these may either have been superimposed, or what is quite possible, a different train of ideas gave rise to them. But behind them all lay, in the first instance, this propitiatory act performed in honour of some supernatural power. All festive dancing at weddings may be regarded as having originated from this. To quote Westermarck again: Ceremonies which once had a purpose may, in course of time, become entirely meaningless, and yet continue to be practised; and ceremonies may also be direct expressions of emotional states, whether combined with a special purpose or not. Just as funeral rites and mourning observances, even when they are intended to protect the survivors against the dead man’s ghost or the contagion of death, are very largely similar to or identical with natural expressions of sorrow or grief, so the precautions taken at a wedding assume the shape of joyful performances, such as dancing, music, singing...[331].