"ON WITH THE DANCE!" A REVIEW
I
THE PRUDE IN LETTERS AND LIFE
It is deserving of remark and censure that American literature is become shockingly moral. There is not a doubt of it; our writers, if accused, would make explicit confession that morality is their only fault—morality in the strict and specific sense. Far be it from me to disparage and belittle this decent tendency to ignore the largest side of human nature, and liveliest element of literary interest. It has an eminence of its own; if it is not great art, it is at least great folly—a superior sort of folly to which none of the masters of letters has ever attained. Not Shakspeare, nor Cervantes, nor Goethe, nor Molière, nor—no, not even Rabelais—ever achieved that shining pinnacle of propriety to which the latter-day American has aspired, by turning his back upon nature's broad and fruitful levels and his eyes upon the passionate altitudes where, throned upon congenial ice, Miss Nancy sits to censure letters, putting the Muses into petticoats and affixing a fig-leaf upon Truth. Ours are an age and country of expurgated editions, emasculated art, and social customs that look over the top of a fan.
Lo! prude-eyed Primdimity, mother of Gush,
Sex-conscious, invoking the difficult blush;
At vices that plague us and sins that beset
Sternly directing her private lorgnette,
Whose lenses, self-searching instinctive for sin,
Make image without of the fancies within.
Itself, if examined, would show us, alas!
A tiny transparency (French) on each glass.
Now, prudery in letters, if it would but have the goodness not to coexist with prudery in life, might be suffered with easy fortitude, inasmuch as one needs not read what one does not like; and between the license of the dear old bucks above mentioned, and the severities of Miss Nancy Howells, and Miss Nancy James, Jr., of t'other school, there is latitude for gratification of individual taste. But it occurs that a literature rather accurately reflects all the virtues and other vices of its period and country, and its tendencies are but the matchings of thought with action. Hence, we may reasonably expect to find—and indubitably shall find—certain well-marked correspondences between the literary faults which it pleases our writers to commit and the social crimes which it pleases the Adversary to see their readers commit. Within the current lustrum the prudery which had already, for some seasons, been achieving a vinegar-visaged and corkscrew-curled certain age in letters, has invaded the ball-room, and is infesting it in quantity. Supportable, because evitable, in letters, it is here, for the contrary reason, insufferable; for one must dance and enjoy one's self whether one like it or not. Pleasure, I take it, is a duty not to be shirked at the command of disinclination. Youth, following the bent of inherited instinct, and loyally conforming himself to the centuries, must shake a leg in the dance, and Age, from emulation and habit, and for denial of rheumatic incapacity, must occasionally twist his heel though he twist it off in the performance. Dance we must, and dance we shall; that is settled; the question of magnitude is, Shall we caper jocundly with the good grace of an easy conscience, or submit to shuffle half-heartedly with a sense of shame, wincing under the slow stroke of our own rebuking eye? To this momentous question let us now intelligently address our minds, sacredly pledged, as becomes lovers of truth, to its determination in the manner most agreeable to our desires; and if, in pursuance of this laudable design, we have the unhappiness to bother the bunions decorating the all-pervading feet of the good people whose deprecations are voiced in The Dance of Death and the clamatory literature of which that blessed volume was the honored parent, upon their own corns be it; they should not have obtruded these eminences
when youth and pleasure meet.
To chase the glowing hours with flying feet.
What, therefore, whence, and likewise why, is dancing? From what flower of nature, fertilized by what pollen of circumstance or necessity, is it the fruit? Let us go to the root of the matter.
II
THE BEATING OF THE BLOOD
Nature takes a childish delight in tireless repetition. The days repeat themselves, the tides ebb and flow, the tree sways forth and back. This world is intent upon recurrences. Not the pendulum of a clock is more persistent of iteration than are all existing things; periodicity is the ultimate law and largest explanation of the universe—to do it over again the one insatiable ambition of all that is. Everything vibrates; through vibration alone do the senses discern it. We are not provided with means of cognizance of what is absolutely at rest; impressions come in waves. Recurrence, recurrence, and again recurrence—that is the sole phenomenon. With what fealty we submit us to the law which compels the rhythm and regularity to our movement—that makes us divide up passing time into brief equal intervals, marking them off by some method of physical notation, so that our senses may apprehend them! In all we do we unconsciously mark time like a clock, the leader of an orchestra with his bâton only more perfectly than the smith with his hammer, or the woman with her needle, because his hand is better assisted by his ear, less embarrassed with impedimenta. The pedestrian impelling his legs and the idler twiddling his thumbs are endeavoring, each in his unconscious way, to beat time to some inaudible music; and the graceless lout, sitting cross-legged in a horse-car, manages the affair with his toe.
The more intently we labor, the more intensely do we become absorbed in labor's dumb song, until with body and mind engaged in the ecstacy of repetition, we resent an interruption of our work as we do a false note in music, and are mightily enamored of ourselves afterward for the power of application which was simply inability to desist. In this rhythm of toil is to be found the charm of industry. Toil has in itself no spell to conjure with, but its recurrences of molecular action, cerebral and muscular, are as delightful as rhyme.
Such of our pleasures as require movements equally rhythmic with those entailed by labor are almost equally agreeable, with the added advantage of being useless. Dancing, which is not only rhythmic movement, pure and simple, undebased with any element of utility, but is capable of performance under conditions positively baneful, is for these reasons the most engaging of them all; and if it were but one-half as wicked as the prudes have endeavored by method of naughty suggestion to make it would lack of absolute bliss nothing but the other half.
This ever active and unabatable something within us which compels us always to be marking time we may call, for want of a better name, the instinct of rhythm. It is the æsthetic principle of our nature. Translated into words it has given us poetry; into sound, music; into motion, dancing. Perhaps even painting may be referred to it, space being the correlative of time, and color the correlative of tone. We are fond of arranging our minute intervals of time into groups. We find certain of these groups highly agreeable, while others are no end unpleasant. In the former there is a singular regularity to be observed, which led hard-headed old Leibnitz to the theory that our delight in music arises from an inherent affection for mathematics. Yet musicians have hitherto obtained but indifferent recognition for feats of calculation, nor have the singing and playing of renowned mathematicians been unanimously commended by good judges.
Music so intensifies and excites the instinct of rhythm that a strong volition is required to repress its physical expression. The universality of this is well illustrated by the legend, found in some shape in many countries and languages, of the boy with the fiddle who compels king, cook, peasant, clown, and all that kind of people, to follow him through the land; and in the myth of the Pied Piper of Hamelin we discern abundant reason to think the instinct of rhythm an attribute of rats. Soldiers march so much livelier with music than without that it has been found a tolerably good substitute for the hope of plunder. When the foot-falls are audible, as on the deck of a steamer, walking has an added pleasure, and even the pirate, with gentle consideration for the universal instinct, suffers his vanquished foeman to walk the plank.
Dancing is simply marking time with the b
ody, as an accompaniment to music, though the same—without the music—is done with only the head and forefinger in a New England meeting-house at psalm time. (The peculiar dance named in honor of St. Vitus is executed with or without music, at the option of the musician.) But the body is a clumsy piece of machinery, requiring some attention and observation to keep it accurately in time to the fiddling. The smallest diversion of the thought, the briefest relaxing of the mind, is fatal to the performance. 'Tis as easy to fix attention on a sonnet of Shakspeare while working at whist as gloat upon your partner while waltzing. It can not be intelligently, appreciatively, and adequately accomplished—crede expertum.
On the subject of poetry, Emerson says: "Metre begins with pulse-beat, and the length of lines in songs and poems is determined by the inhalation and exhalation of the lungs," and this really goes near to the root of the matter; albeit we might derive therefrom the unsupported inference that a poet "fat and scant of breath" would write in lines of a foot each, while the more able-bodied bard, with the capacious lungs of a pearl-diver, would deliver himself all across his page, with "the spacious volubility of a drumming decasyllabon."
While the heart, working with alternate contraction and dilatation, sends the blood intermittently through the brain, and the outer world apprises us of its existence only by successive impulses, it must result that our sense of things will be rhythmic. The brain being alternately stimulated and relaxed we must think—as we feel—in waves, apprehending nothing continuously, and incapable of a consciousness that is not divisible into units of perception of which we make mental record and physical sign. That is why we dance. That is why we can, may, must, will, and shall dance, and the gates of Philistia shall not prevail against us.
La valse légère, la valse légère,
The free, the bright, the debonair,
That stirs the strong, and fires the fair
With joy like wine of vintage rare—
That lends the swiftly circling pair
A short surcease of killing care,
With music in the dreaming air,
With elegance and grace to spare.
Vive! vive la valse, la valse légère!
—George Jessop.
III
THERE ARE CORNS IN EGYPT
Our civilization—wise child!—knows its father in the superior civilization whose colossal vestiges are found along the Nile. To those, then, who see in the dance a civilizing art, it can not be wholly unprofitable to glance at this polite accomplishment as it existed among the ancient Egyptians, and was by them transmitted—with various modifications, but preserving its essentials of identity—to other nations and other times. And here we have first to note that, as in all the nations of antiquity, the dance in Egypt was principally a religious ceremony; the pious old boys that builded the pyramids executed their jigs as an act of worship. Diodorus Siculus informs us that Osiris, in his proselyting travels among the peoples surrounding Egypt—for Osiris was what we would call a circuit preacher—was accompanied by dancers male and dancers female. From the sculptures on some of the oldest tombs of Thebes it is seen that the dances there depicted did not greatly differ from those in present favor in the same region; although it seems a fair inference from the higher culture and refinement of the elder period that they were distinguished by graces correspondingly superior. That dances having the character of religious rites were not always free from an element that we would term indelicacy, but which their performers and witnesses probably considered the commendable exuberance of zeal and devotion, is manifest from the following passage of Herodotus, in which reference is made to the festival of Bubastis:
Men and women come sailing all together, vast numbers in each boat, many of the women with castanets, which they strike, while some of the men pipe during the whole period of the voyage; the remainder of the voyagers, male and female, sing the while, and make a clapping with their hands. When they arrive opposite to any town on the banks of the stream they approach the shore, and while some of the women continue to play and sing, others call aloud to the females of the place and load them with abuse, a certain number dancing and others standing up, uncovering themselves. Proceeding in this way all along the river course they reach Bubastis, where they celebrate the feast with abundant sacrifice.
Of the mysteries of Isis and Osiris, in which dancing played an important part, the character of the ceremonies is matter of dim conjecture; but from the hints that have come down to us like significant shrugs and whispers from a discreet past, which could say a good deal more if it had a mind to, I hasten to infer that they were no better than they should have been.
Naturally the dances for amusement of others were regulated in movement and gesture to suit the taste of patrons: for the refined, decency and moderation; for the wicked, a soupçon of the other kind of excellence. In the latter case the buffoon, an invariable adjunct, committed a thousand extravagances, and was a dear, delightful, naughty ancient Egyptian buffoon. These dances were performed by both men and women; sometimes together, more frequently in separate parties. The men seem to have confined themselves mostly to exercises requiring strength of leg and arm. The figures on the tombs represent men in lively and vigorous postures, some in attitude preliminary to leaping, others in the air. This feature of agility would be a novelty in the oriental dances of to-day; the indolent male spectator being satisfied with a slow, voluptuous movement congenial to his disposition. When, on the contrary, the performance of our prehistoric friends was governed and determined by ideas of grace, there were not infrequently from six to eight musical instruments, the harp, guitar, double-pipe, lyre, and tambourine of the period being most popular, and these commonly accompanied by a clapping of hands to mark the time.
As with the Greeks, dancers were had in at dinner to make merry; for although the upper-class Egyptian was forbidden to practice the art, either as an accomplishment or for the satisfaction of his emotional nature, it was not considered indecorous to hire professionals to perform before him and his female and young. The she dancer usually habited herself in a loose, flowing robe, falling to the ankles and bound at the waist, while about the hips was fastened a narrow, ornate girdle. This costume—in point of opacity imperfectly superior to a gentle breeze—is not always discernible in the sculptures; but it is charitably believed that the pellucid garment, being merely painted over the figures, has been ravished away by the hand of Time—the wretch!
One of the dances was a succession of pleasing attitudes, the hands and arms rendering important assistance—the body bending backward and forward and swaying laterally, the figurante sometimes half-kneeling, and in that position gracefully posturing, and again balanced on one foot, the arms and hands waving slowly in time to the music. In another dance, the pirouette and other figures dear to the bald-headed beaux of the modern play-house, were practiced in the familiar way. Four thousand years ago, the senses of the young ancient Egyptian—wild, heady lad!—were kicked into confusion by the dark-skinned belle of the ballet, while senility, with dimmed eyes, rubbed its dry hands in feverish approval at the self-same feat. Dear, dear, but it was a bad world four thousand years ago!
Sometimes they danced in pairs, men with men and women with women, indifferently, the latter arrangement seeming to us preferable by reason of the women's conspicuously superior grace and almost equal agility; for it is in evidence on the tombs that tumblers and acrobats were commonly of the softer sex. Some of the attitudes were similar to those which drew from Socrates the ungallant remark that women were capable of learning anything which you will that they should know. The figures in this pas de deux appear frequently to have terminated in what children, with their customary coarseness of speech, are pleased to call "wringing the dish-clout"—clasping the hands, throwing the arms above the head and turning rapidly, each as on a pivot, without loosing the hands of the other, and resting again in position.
Sometimes, with no other music than the percussion of hands, a man would execut
e a pas seul, which it is to be presumed he enjoyed. Again, with a riper and better sense of musical methods, the performer accompanied himself, or, as in this case it usually was, herself, on the double-pipes, the guitar or the tambourine, while the familiar hand-clapping was done by attendants. A step not unlike that of the abominable clog dance of the "variety" stage and "music hall" of the present day consisted in striking the heel of first one foot and then the other, the hands and arms being employed to diminish the monotony of the movement. For amusement and instruction of the vulgar, buffoons in herds of ten or more in fested the streets, hopping and posing to the sound of a drum.
As illustrating the versatility of the dance, its wide capacities of adaptation to human emotional needs, I may mention here the procession of women to the tomb of a friend or relative Punishing the tambourine or dara booka drum, and bearing branches of palm or other symbolic vegetables, these sprightly mourners passed through the streets with songs and dances which, under the circumstances, can hardly have failed eminently to gratify the person so fortunate as to have his memory honored by so delicate and appropriate observance.
IV
A REEF IN THE GABARDINE
The early Jew danced ritually and socially. Some of his dances and the customs connected therewith were of his own devising; others he picked up in Egypt, the latter, no doubt, being more firmly fixed in his memory by the necessity of practicing them—albeit behind the back of Moses—while he had them still fresh in his mind; for he would naturally resort to every human and inhuman device to wile away the dragging decades consumed in tracing the labyrinthine sinuosities of his course in the wilderness. When a man has assurance that he will not be permitted to arrive at the point for which he set out, perceiving that every step forward is a step wasted, he will pretty certainly use his feet to a better purpose than walking. Clearly, at a time when all the chosen people were Wandering Jews they would dance all they knew how. We know that they danced in worship of the Golden Calf, and that previously "Miriam the prophetess, sister of Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances." And ever so many generations before, Laban complained to Jacob that Jacob had stolen away instead of letting him send him off with songs and mirth and music on the tabret and harp, a method of speeding the parting guest which would naturally include dancing, although the same is not of explicit record.
The Collected Works of Ambrose Bierce, Volume 8 / Epigrams, On With the Dance, Negligible Tales Page 15
