The sacred dance : $b A study in comparative folklore — John Shaqi
The sacred dance : $b A study in comparative folkloreOesterley, W. O. E. (William Oscar Emil)
Religion
The sacred dance : $b A study in comparative folklore
Oesterley, W. O. E. (William Oscar Emil)
Dance -- Religious aspects -- History
An interesting passage is Ps. cxviii. 27, though there is some
uncertainty again about the text. The R.V. reads: “Bind the sacrifice
with cords, even unto the horns of the altar.” The word _ḥag_ is here
translated “sacrifice”; but this is not justified (in spite of Mal.
ii. 3), for, as Briggs rightly points out, the procedure “would not be
in accord with sacrificial laws and usage[144].” On the other hand, to
translate it by “sacred dance” would be to give the word, as we have
seen, its essential meaning[145]. Then, further, the word rendered “bind”
(_ʾasar_) can equally well mean “join”; cp. this meaning of the word in 1
Kings xx. 14, “Who will join battle?” The same use is found in 2 Chron.
xiii. 3, “And Abijah joined battle”; in each case this root (_ʾasar_)
is used. So that our passage could be rendered quite correctly: “Join
the sacred dance.” As to the word translated “cords,” or “ropes,” this
would be used quite appropriately in connexion with dancing; it is the
same idea as that connected with _ḥebel_ (“chain,” or “band”), used of
prophets going about in single file (see further below, p. 108). In Hos.
xi. 4 the two words are used as parallels. So that the reference in the
psalm may well be to strings of worshippers being called upon to join in
the sacred dance. Briggs’ objection to an explanation of this kind on the
ground that this usage of _ḥag_ is rare and early, “not to be thought
of in so late a psalm,” is not valid when one remembers the tenacity
with which religious customs and expressions are clung to. It is well to
remember that this psalm belongs to the “Hallel” (Pss. cxiii.-cxviii.),
the most important of the festival psalms; the “Hallel” was sung at all
the great feasts. We shall see presently that very clear evidence exists
for the performance of the encircling of the altar during the singing
of this psalm in later days, as well as other dancing during the great
festivals. It may be taken for granted that both kinds of dance were not
innovations belonging to subsequent ages, but the continuance of what had
been handed down for ages.
Public-domain text, read in full here on John Shaqi.
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