So, too, Guhl and Koner write:—
Congruous with this statement is that of Posnett, who, after quoting an early prayer to Mars, says—
Here we see a parallelism to the triumphal reception of David and Saul, and are shown that the worship of the hero-god is a repetition of the applause given to a conqueror when alive in celebration of his achievements: the priests and people doing in the last case that which the courtiers and people did in the first. Moreover in Rome, as in Greece, there eventually arose, out of the sacred performances of music, secular performances—a cultivation of music as a pleasure-giving art. Says Inge—
But in the days of the Cæsars musical culture had become part of a liberal education; and we have, in illustration, the familiar remembrance of Nero as a violinist. At the same time "trained choirs of slaves were employed to sing and play to the guests at dinner, or for the delectation of their master alone."
On tracing further the evolution of these originally twin professions, we come upon the fact that while, after their separation, the one became almost wholly secularized, the other long continued its ecclesiastical connections and differentiated into its secular forms at a later date. Why dancing ceased to be a part of religious worship, while music did not, we may readily see. In the first place dancing being inarticulate, is not capable of expressing those various ideas and feelings which music, joining with words, is able to do. As originally used it was expressive of joy, alike in presence of the living hero and in the supposed presence of his