We shall see later that
certain features in the surviving forms of the Sword Dance also point
in this direction.
The interest of the Korybantes for our investigation lies in the fact
that here again we have the Sword Dance in close and intimate
connection with the worship of the Vegetation Spirit, and there can be
no doubt that here, as elsewhere, it was held to possess a stimulating
virtue.
A noticeable point in the modern survivals of these Dances is that the
Dance proper is combined with a more or less coherent dramatic action.
The Sword Dance originally did not stand alone, but formed part of a
Drama, to the action of which it may be held to have given a cumulative
force.
On this point I would refer the reader to Professor von Schroeder's
book, where this aspect of the Dance is fully discussed.[17]
We have already spoken of the Maruts, and their dramatic
connection with Indra; the Greek Dancers offer us no direct parallel,
though the connection of the Kouretes with the infant Zeus may quite
possibly indicate the existence in the original form of the Dance,
of a more distinctly dramatic element.
We have, however, in the Roman Salii a connecting link which proves
beyond all doubt that our modern dances, and analogous
representations, are in fact genuine survivals of primitive ceremonies,
and in no way a mere fortuitous combination of originally independent
elements.
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