my writings on political economy; and in this temper I will ask you to consider with me some conclusions which appear to me derivable from that text about Miriam, which haunted me through the jugglery; and from certain others.
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 honor 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 theaters, and to which, though in so apparently desultory manner, I have been nevertheless very earnestly endeavoring 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; and 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 Uri, and endeavors 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 neighborhood 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 neighborhood 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
