LETTER IX.
The Use of Music and Dancing under the Jewish Theocracy, compared with their Use by the Modern French.
40.Having, I hope, made you now clearly understand with what feeling I would use the authority of the book which the British public, professing to consider sacred, have lately adorned for themselves with the work of the boldest violator of the instincts of human honour and decency known yet in art-history, I will pursue by the help of that verse about Miriam, and some others, the subject which occupied my mind at both theatres, and to which, though in so apparently desultory manner, I have been nevertheless very earnestly endeavouring to lead you.
41. The going forth of the women of Israel after Miriam with timbrels and with dances, was, as you doubtless remember, their expression of passionate triumph and thankfulness, after the full accomplishment of their deliverance from the Egyptians. That deliverance had been by the utter death of their enemies, and accompanied by stupendous miracle; no human creatures could in an hour of triumph be surrounded by circumstances more solemn. I am not going to try to excite your feelings about them. Consider only for yourself what that seeing of the Egyptians "dead upon the sea-shore" meant to every soul that saw it. And then reflect that these intense emotions of mingled horror, triumph, and gratitude were expressed, in the visible presence of the Deity, by music and dancing. If you answer that you do not believe the Egyptians so perished, or that God ever appeared in a pillar of cloud, I reply, "Be it so—believe or disbelieve, as you choose;—This is yet assuredly the fact, that the author of the poem or fable of the Exodus supposed that, under such circumstances of Divine interposition as he had invented, the triumph of the Israelitish women would have been, and ought to have been, under the direction of a prophetess, expressed by music and dancing."
42. Nor was it possible that he should think otherwise, at whatever period he wrote; both music and dancing being, among all great ancient nations, an appointed and very principal part of the worship of the gods.
And that very theatrical entertainment at which I sate thinking over these things for you—that pantomime, which depended throughout for its success on an appeal to the vices of the lower London populace, was, in itself, nothing but a corrupt remnant of the religious ceremonies which guided the most serious faiths of the Greek mind, and laid the foundation of their gravest moral and didactic—more forcibly so because at the same time dramatic—literature.
43. Returning to the Jewish history, you find soon afterwards this enthusiastic religious dance and song employed, in their more common and habitual manner, in the idolatries under Sinai; but beautifully again and tenderly, after the triumph of Jephthah, "And behold his daughter came out to meet him with timbrels and with dances." Again, still more notably, at the triumph of David with Saul, "the women came out of all the cities of Israel singing and dancing, to meet King Saul with tabrets, with joy, and with instruments of music." And you have this joyful song and dance of the virgins of Israel not only incidentally alluded to in the most solemn passages of Hebrew religious poetry (as in Psalm lxviii. 24, 25, and Psalm cxlix. 2, 3), but approved, and the restoration of it promised as a sign of God's perfect blessing, most earnestly by the saddest of the Hebrew prophets, and in one of the most beautiful of all his sayings.
"The Lord hath appeared of old unto me saying, 'Yea, I have loved thee with an everlasting love. Therefore, with loving kindness have I drawn thee.—I will build thee, and thou shalt be built, O Virgin of Israel; thou shalt again be adorned with thy tabrets, and thou shalt go forth in dances with them that make merry,'" (Jer. xxxi. 3, 4; and compare v. 13). And finally, you have in two of quite the most important passages in the whole series of Scripture (one in the Old Testament, one in the New), the rejoicing in the repentance from, and remission of, sins, expressed by means of music and dancing, namely, in the rapturous dancing of David before the returning ark; and in the joy of the father's household at the repentance of the prodigal son.
44. I could put all this much better, and more convincingly, before you, if I were able to take any pains in writing at present; but I am not, as I told you; being weary and ill; neither do I much care now to use what, in the very truth, are but tricks of literary art, in dealing with this so grave subject. You see I write you my letter straightforward, and let you see all my scratchings out and puttings in; and if the way I say things shocks you, or any other reader of these letters, I cannot help it; this only I know, that what I tell you is true, and written more earnestly than anything I ever wrote with my best literary care; amd that you will find it useful to think upon, however it be said. Now, therefore, to draw towards our conclusion. Supposing the Bible inspired, in any of the senses above defined, you have in these passages a positively Divine authority for the use of song and dance, as a means of religious service, and expression of national thanksgiving. Supposing it not inspired, you have (taking the passages for as slightly authoritative as you choose) record in them, nevertheless, of a state of mind in a great nation, producing the most beautiful religious poetry and perfect moral law hitherto known to us, yet only expressible by them, to the fulfilment of their joyful passion, by means of professional dance and choral song.
45. Now I want you to contrast this state of religious rapture with some of our modern phases of mind in parallel circumstances. You see that the promise of Jeremiah's, "Thou shalt go forth in the dances of them that make merry," is immediately followed by this, "Thou shalt yet plant vines upon the mountains of Samaria." And again, at the yearly feast to the Lord in Shiloh, the dancing of the virgins was in the midst of the vineyards (Judges xxi. 21), the feast of the vintage being in the south, as our harvest home in the north, a peculiar occasion of joy and thanksgiving. I happened to pass the autumn of 1863 in one of the great vine districts of Switzerland, under the slopes of the outlying branch of the Jura which limits the arable plain of the Canton Zurich, some fifteen miles north of Zurich itself. That city has always been a renowned stronghold of Swiss Protestantism, next in importance only to Geneva; and its evangelical zeal for the conversion of the Catholics of Ufi, and endeavours to bring about that spiritual result by stopping the supplies of salt they needed to make their cheeses with, brought on (the Uri men reading their Matt. v. 13, in a different sense) the battle of Keppel, and the death of the reformer Zwinglius. The town itself shows the most gratifying signs of progress in all the modern arts and sciences of life. It is nearly as black as Newcastle—has a railroad station larger than the London terminus of the Chatham and Dover—fouls the stream of the Limmat as soon as it issues from the lake, so that you might even venture to compare the formerly simple and innocent Swiss river (I remember it thirty years ago—a current of pale green crystal) with the highly educated English streams of Weare or Tyne; and, finally, has as many French prints of dissolute tendency in its principal shop windows as if they had the privilege of opening on the Parisian Boulevards.
46. I was somewhat anxious to see what species of thanksgiving or exultation would be expressed at their vintage, by the peasantry in the neighbourhood of this much enlightened, evangelical, and commercial society. It consisted in two ceremonies only. During the day, the servants of the farms where the grapes had been gathered, collected in knots about the vineyards, and slowly fired horse-pistols, from morning to evening. At night they got drunk, and staggered up and down the hill paths, uttering, at short intervals, yells and shrieks, differing only from the howling of wild animals by a certain intended and insolent discordance, only attainable by the malignity of debased human creatures.
47. I must not do the injustice to the Zurich peasantry of implying that this manner of festivity is peculiar to them. A year before, in 1862, I had formed the intention of living some years in the neighbourhood of Geneva, and had established myself experimentally on the eastern slope of the Mont Salève; but I was forced to abandon my purpose at last, because I could not endure the rabid howling, on Sunday evenings, of the holiday-makers who came out from Geneva to get drunk in the mountain village. By the way, your last letter, with its extracts about our traffic in gin, is very valuable. I will come to that part of the business in a little while. Meantime, my friend, note this, respecting what I have told you, that in the very centre of Europe, in a country which is visited for their chief pleasure by the most refined and thoughtful persons among all Christian nations—a country made by God's hand the most beautiful in the temperate regions of the earth, and inhabited by a race once capable of the sternest patriotism and simplest purity of life, your modern religion, in the very stronghold of it, has reduced the song and dance of ancient virginal thanksgiving to the howlings and staggerings of men betraying, in intoxication, a nature sunk more than half-way towards the beasts; and you will begin to understand why the Bible should have been "illustrated" by Gustave Doré.
48. One word more is needful, though this letter is long already. The peculiar ghastliness of this Swiss mode of festivity is in its utter failure of joy; the paralysis and helplessness of a vice in which there is neither pleasure, nor art. But we are not, throughout Europe, wholly thus. There is such a thing, yet, as rapturous song and dance among us, though not indicative, by any means, of joy over repentant sinners. You must come back to Paris with me again. I had an evening to spare there, last summer, for investigation of theatres; and as there was nothing at any of them that I cared much about seeing, I asked a valet-de-place at Meurice's what people were generally going to. He said, "All the English went to see the Lanterne Magique." I do not care to tell you what general entertainment I received in following, for once, the lead of my countrymen; but it closed with the representation of the characteristic dancing of all ages of the world; and the dance given as characteristic of modern time was the Cancan, which you will see alluded to in the extract given in the note at page 80 of 'Sesame and Lilies' (the small edition; and page 54 of Vol. I. of the Revised Series of the Entire Works). "The ball terminated with a Devilish Chain and a Cancan of Hell, at seven in the morning." It was led by four principal dancers (who have since appeared in London in the Huguenot Captain), and it is many years since I have seen such perfect dancing, as far as finish and accuracy of art and fulness of animal power and fire are concerned. Nothing could be better done, in its own evil way, the object of the dance throughout being to express, in every gesture, the wildest fury of insolence and vicious passions possible to human creatures. So that you see, though, for the present, we find ourselves utterly incapable of a rapture of gladness or thanksgiving, the dance which is presented as characteristic of modern civilization is still rapturous enough—but it is with rapture of blasphemy.