The step is called the “Henna-dance step,” and the tune accompanying it is called the “Henna-staining tune[338].” Doubtless this is an elaboration of the original form of the dance, and a further purpose has been superimposed—the turning of the cup without extinguishing the candles may be differently explained, though it must be a magical rite of some kind—but the henna on the palms certainly seems to point to a means of averting the evil eye. As to the fears at entering upon a new state, we may be pardoned for quoting Westermarck once more, for he is our foremost authority on the whole subject. He writes: A marriage implies not only that the parties enter into new relations to each other’s people, but very frequently that one of them, through the change of domicile, is actually transferred to the other one’s family group. And it implies other changes in the social grouping of people: either party passes from one social class into another, the bridegroom from the class of the bachelors to that of the married men, the bride from the class of the girls to that of the married women. This re-grouping also finds expression in the marriage ritual, as when the hair of the bride is arranged in the fashion of married women, or she ceremonially assumes the head-dress worn by them, or when the bride dances first with the unmarried girls and then with the married women, and the bridegroom first with the bachelors and then with the married men[339]. Here the dance is clearly in the nature of an initiatory ceremony into one class from another, and it has the effect of familiarizing each party with the new status and condition; it may, therefore, be regarded as serving a kind of prophylactic purpose. This has taken us some way from the sword-dance; but it all really arises from this; for all that has been said points to the belief in the existence of undefined dangers in marriage, and the means to counteract these; and numberless other examples are available. But our main point here is to show how frequently, for whatever reasons, the dance has a part to play in the rites performed. III