The ecstatic dance is performed as the outcome of strong religious emotion; it begins quietly and without any indication of what is to come; but the intention to increase it gradually to an extravagant pitch is there from the commencement, and it continues until semi-consciousness, and even total unconsciousness is reached. The excitement caused by the dance frequently becomes contagious, so that others join in. The purpose of this dance is to effect union with a superhuman spirit; the body, temporarily “emptied” of consciousness, is believed to be entered by the god or spirit in whose honour the dance takes place. Among peoples of low culture, among whom belief in the “external soul” is common, there can be no doubt that the conviction existed that the soul took its departure from the body for the time being, thus making room for the higher spirit of the god. While thus inhabiting the body, the god utilized it for his own purposes. The prime motive of the ecstatic dance was union with the deity; that being once effected other things might or might not follow. The ecstatic dance takes, however, a different form, and has a different purpose under special circumstances. It acts sometimes as a means of forcing the deity (or, rather, it is believed to do so) to answer prayer; then during the ecstatic state self-laceration takes place, apparently with little or no sensation of pain; the loss of consciousness does not necessarily ensue. Both these forms of the ecstatic dance are met with among the Israelites. The former was practised by the prophets, and its contagious character is forcibly illustrated; as a result the spirit of Jahwe comes upon the performer. The latter is mentioned as a Syrian rite practised in time of emergency by the prophets of Baal; but the influence of Syrian, or Canaanite, practice upon the Israelites here is plainly indicated by the prophet Hosea who tells of how the people “cut themselves for corn and wine,” thus rebelling against their God. Though in this instance the dance is not mentioned we know from the parallel case of the prophets of Baal that it was part of the ritual, and therefore took place; and this quite apart from the analogous practice elsewhere. It was done with the purpose of forcing the god (in this case some local Baal) to give good crops. It was, so we may believe, an emergency rite; the more normal method may have been the dance round the sacred tree (see above, pp. 96, 99, 103). As to the special form of dance on these occasions, it is probable, so far as the prophetic dance was concerned, that it began in quite moderate style, and in single file formation; as the excitement increased it is obvious that it assumed a very different form, a whirling round with head thrown back, judging from analogy. In the case of the wilder, Syrian, form, there is reason to suppose that it began also quietly, with the “limping” step, and presently got wilder and wilder, until knives and other sharp instruments