(2) Accordingly there has been much dispute among theologians as to the lawfulness of music and dancing regarded as religious exercises. One sect, the Zahirites, holding that God is altogether incommensurable with man, deny the possibility of man's really feeling love to God, and say that he can only love those of his own species. If he does feel what he thinks is love to his Creator they say it is a mere projection, or shadow cast by his own fantasy, or a reflection of love to the creature; music and dancing, according to them, have only to do with creature love, and are therefore unlawful as religious exercises. If we ask them what is the meaning of that "love to God" which is enjoined by the religious law, they reply that it means obedience and worship. This is an error which we hope to confute in a later chapter dealing with the love of God. At present we content ourselves with saying that music and dancing do not put into the heart what is not there already, but only fan into a flame dormant emotions. Therefore if a man has in his heart that love to God which the law enjoins, it is perfectly lawful, nay, laudable in him to take part in exercises which promote it. On the other hand, if his heart is full of sensual desires, music and dancing will only increase them, and are therefore unlawful for him. While, if he listens to them merely as a matter of amusement, they are neither lawful nor unlawful, but indifferent. For the mere fact that they are pleasant does not make them unlawful any more than the pleasure of listening to the singing of birds or looking at green grass and running water is unlawful. The innocent character of music and dancing, regarded merely as a pastime, is also corroborated by an authentic tradition which we have from the Lady Ayesha, who narrates: "One festival day some Negroes were performing in a mosque. The Prophet said to me, 'Do you wish to see them?' I replied, 'Yes.' Accordingly he lifted me up with his own blessed hand, and I looked on so long that he said more than once, 'Have not you had enough of watching?"

(1) The heart of man has been so constituted by the Almighty that, like a flint, it contains a hidden fire which is evoked by music and harmony, and renders man beside himself with ecstasy. These harmonies are echoes of that higher world of beauty which we call the world of spirits; they remind man of his relationship to that world, and produce in him an emotion so deep and strange that he himself is powerless to explain it. The effect of music and dancing is deeper in proportion as the natures on which they act are simple and prone to motion; they fan into a flame whatever love is already dormant in the heart, whether It be earthly and sensual, or divine and spiritual.

(5) We come now to the purely religious use of music and dancing: such is that of who by this means stir up in themselves greater love towards God, and, by means of music, often obtain spiritual visions and ecstasies, their heart becoming in this condition as clean as silver in the flame of a furnace, and attaining a degree of purity which could never be attained by any amount of mere outward austerities. The Sufi then becomes so keenly aware of his relationship to the spiritual world that he loses all consciousness of this world, and often falls down senseless.

(33) The musician has wound up his pegs, and tuned his strings; the Bridegroom cometh. When the round beginneth take heed thou dost not get the hellish gout in thy feet, lest thou be found incapable or unfit for the angelical dance, and so be thrust out from the wedding, seeing thou hast on no angelical garment.

(4) Passing over the cases where music and dancing rouse into a flame evil desires already dormant in the heart, we come to those cases where they are quite lawful. Such are those of the pilgrims who celebrate the glories of the House of God at Mecca in song, and thus incite others to go on pilgrimage, and of minstrels whose music and songs stir up martial ardour in the breasts of their auditors and incite them to fight against infidels. Similarly, mournful music which excites sorrow for sin and failure in religious life is lawful; of this nature was the music of David. But dirges which increase sorrow for the dead are not lawful, for it is written in the Koran, "Despair not over what you have lost." On the other hand, joyful music at weddings and feasts and on such occasions as a circumcision or the return from a journey is lawful.

(87) For what I did hereupon undergo, suffer and endure from the devil and the hellish quality, which as well does rule in my outward man as in all men whatsoever, this thou canst not apprehend, unless thou also dancest in this round.

(172) O man! alas, O man! why dost thou dance with the devil who is thine enemy? Art thou not afraid that he will thrust thee into hell? Why dost thou go on so securely? Is it not a very narrow stick on which thou dancest? Under that small narrow bridge is hell! Dost thou not see how high thou art, and how dangerously and desperately thou goest? Thou dancest between heaven and hell.

(6) It is not, however, lawful for the aspirant to Sufism to take part in this mystical dancing without the permission of his "Pir," or spiritual director. It is related of the Sheikh Abu'l Qasim Girgani that, when one of his disciples requested leave to take part in such a dance, he said, "Keep a strict fast for three days; then let them cook for you tempting dishes; if then, you still prefer the "dance," you may take part in it." The disciple, however, whose heart is not thoroughly purged from earthly desires, though he may have obtained some glimpse of the Mystics' path, should be forbidden by his director to take part in such dances, as they will do him more harm than good.

(18) Other features of these mystic dances are the bodily contortions and tearing of clothes with which they are sometimes accompanied. If these are the result of genuine ecstatic conditions there is nothing to be said against them, but if they are self-conscious and deliberate on the part of those who wish to appear "adepts," then they are merely acts of hypocrisy. In any case the more perfect adept is he who controls himself till he is absolutely obliged to give vent to his feelings. It is related of a certain youth who was a disciple of Sheikh Junaid that, on hearing singing commence in an assembly of the Sufis, he could not restrain himself, but began to shriek in ecstasy. Junaid said to him, "If you do that again, do not remain in my company." After this the youth used to restrain himself on such occasions, but at last one day his emotions were so powerfully stirred that, after long and forcible repression of them, he uttered a shriek and died.

(1) Pythagoras was likewise of opinion that music contributed greatly to health, if it was used in an appropriate manner. For he was accustomed to employ a purification of this kind, but not in a careless way. And he called the medicine which is obtained through music by the name of purification. But he employed such a melody as this about the vernal season. For he placed in the middle a certain person who played on the lyre, and seated in a circle round him those who were able to sing. And thus, when the person in the centre struck the lyre, those that surrounded him sung certain pæans, through which they were seen to be delighted, and to become elegant and orderly in their manners.

But at another time they used music in the place of medicine. And there are certain melodies devised as remedies against the passions of the soul, and also against despondency and lamentation, which Pythagoras invented as things that afford the greatest assistance in these maladies. And again, he employed other melodies against rage and anger, and against every aberration of the soul. There is also another kind of modulation invented as a remedy against desires. He likewise used dancing; but employed the lyre as an instrument for this purpose. For he conceived that the pipe was calculated to excite insolence, was a theatrical instrument, and had by no means a liberal sound. Select verses also of Homer and Hesiod were used by him, for the purpose of correcting the soul.

Among the deeds of Pythagoras likewise, it is said, that once through the spondaic song of a piper, he extinguished the rage of a Tauromenian lad, who had been feasting by night, and intended to burn the vestibule of his mistress, in consequence of seeing her coming from the house of his rival. For the lad was inflamed and excited [to this rash attempt] by a Phrygian song; which however Pythagoras most rapidly suppressed. But Pythagoras, as he was astronomizing, happened to meet with the Phrygian piper at an unseasonable time of night, and persuaded him to change his Phrygian for a spondaic song; through which the fury of the lad being immediately repressed, he returned home in an orderly manner, though a little before this, he could not be in the least restrained, nor would in short, bear any admonition; and even stupidly insulted Pythagoras when he met him.

When a certain youth also rushed with a drawn sword on Anchitus, the host of Empedocles, because, being a judge, he had publicly condemned his father to death, and would have slain him as a homicide, Empedocles changed the intention of the youth, by singing to his lyre that verse of Homer,

(7) "Do not grieve, do not be afraid. Dance! And do first the part in which you kill yourselves; burn my house, do all that you know how to do. We shall marvel at you, for that is what our hearts desire. And afterwards, poor things, we shall give help for your journey," they told them. Then they began to sing and dance. All the people of Xibalba arrived and gathered together in order to see them. Then they performed the dance of the cux, they danced the puhuy, and they danced the iboy. And the lord said to them: "Cut my dog into pieces and let him be brought back to life by you," he said to them. "Very well," they answered, and cut the dog into bits. Instantly they brought him back to life. The dog was truly full of joy when he was brought back to life, and wagged his tail when they revived him.

(4) A poor dendsh once fell in love with Ayaz, and the news soon spread. When Ayaz rode through the street, perfumed with musk, this spiritual wanton would wait and run out to see him, and would stare at him as a polo player fixes his eye on the ball. At last they told Mahmud about this beggar being in love with Ayaz. One day, when Ayaz was riding with the sultan, the latter stopped and looked at this dervish and he saw that the soul of Ayaz was as a grain of barley and the face of the man as a ball of dough which encloses it.

He saw that the back of the beggar was curved like a mallet, and his head was turning every way at once like the ball in polo. Mahmud said: 'Miserable beggar, do you expect to drink from the same cup as the Sultan?' 'Although you call me a beggar,' replied the dervish, 'I am not inferior to you in the play of love. Love and poverty go together. You are the sovereign, and your heart is luminous; but for love, a burning heart like mine is necessary. Your love is commonplace. I suffer from the pain of absence. You are with the beloved; but in love one must know how to endure the pain of absence.' The sultan said: 'O you who have withdrawn from ordinary existence, love to you is as a game of polo?' 'It is,' replied the beggar, 'because the ball is always in movement, as I am, and I as the ball. The ball and I have heads that turn, though we have neither hands nor feet. We can speak together about the suffering that the mallet causes us; but the ball is happier than I, for the pony touches it from time to time with its feet. The ball receives the blows of the mallet on his body, but I feel them in my heart.'

'Poor Dervish!' said the sultan, 'you boast of your poverty, but where is your evidence?'

'If I sacrifice everything for love,' replied the derdsh, 'that is a token of my spiritual poverty. And if you, O Mahmud, ever have the experience of real love, sacrifice your life for it; if not you have no right to speak of love.'

So saying, he died, and the world became dark for Mahmud.

(6) Three maidens at the right wheel in a circle Came onward dancing; one so very red That in the fire she hardly had been noted. The second was as if her flesh and bones Had all been fashioned out of emerald; The third appeared as snow but newly fallen. And now they seemed conducted by the white, Now by the red, and from the song of her The others took their step, or slow or swift. Upon the left hand four made holiday Vested in purple, following the measure Of one of them with three eyes in her head. In rear of all the group here treated of Two old men I beheld, unlike in habit, But like in gait, each dignified and grave. One showed himself as one of the disciples Of that supreme Hippocrates, whom nature Made for the animals she holds most dear; Contrary care the other manifested, With sword so shining and so sharp, it caused Terror to me on this side of the river.

(6) O miserable me! how I did shudder When he seized on me, saying: 'Peradventure Thou didst not think that I was a logician!' He bore me unto Minos, who entwined Eight times his tail about his stubborn back, And after he had bitten it in great rage, Said: 'Of the thievish fire a culprit this;' Wherefore, here where thou seest, am I lost, And vested thus in going I bemoan me." When it had thus completed its recital, The flame departed uttering lamentations, Writhing and flapping its sharp-pointed horn. Onward we passed, both I and my Conductor, Up o'er the crag above another arch, Which the moat covers, where is paid the fee By those who, sowing discord, win their burden.

(69) This I set thee down here for a warning, that thou may know what manner of ground sorcery or witchcraft has, not in such a way as if I would write any heathenish sorcery or witchcraft, neither have I learned any; but the animated or soulish spirit beholdeth their juggling, which in the body I do not understand.

(33) The Circuit does not go by chance but under the Reason-Principle of the living whole; therefore there must be a harmony between cause and caused; there must be some order ranging things to each other's purpose, or in due relation to each other: every several configuration within the Circuit must be accompanied by a change in the position and condition of things subordinate to it, which thus by their varied rhythmic movement make up one total dance-play.

In our dance-plays there are outside elements contributing to the total effect- fluting, singing, and other linked accessories- and each of these changes in each new movement: there is no need to dwell on these; their significance is obvious. But besides this there is the fact that the limbs of the dancer cannot possibly keep the same positions in every figure; they adapt themselves to the plan, bending as it dictates, one lowered, another raised, one active, another resting as the set pattern changes. The dancer's mind is on his own purpose; his limbs are submissive to the dance-movement which they accomplish to the end, so that the connoisseur can explain that this or that figure is the motive for the lifting, bending, concealment, effacing, of the various members of the body; and in all this the executant does not choose the particular motions for their own sake; the whole play of the entire person dictates the necessary position to each limb and member as it serves to the plan.

Now this is the mode in which the heavenly beings must be held to be causes wherever they have any action, and, when. they do not act, to indicate.

Or, a better statement: the entire kosmos puts its entire life into act, moving its major members with its own action and unceasingly setting them in new positions; by the relations thus established, of these members to each other and to the whole, and by the different figures they make together, the minor members in turn are brought under the system as in the movements of some one living being, so that they vary according to the relations, positions, configurations: the beings thus co-ordinated are not the causes; the cause is the coordinating All; at the same time it is not to be thought of as seeking to do one thing and actually doing another, for there is nothing external to it since it is the cause by actually being all: on the one side the configurations, on the other the inevitable effects of those configurations upon a living being moving as a unit and, again, upon a living being thus by its nature conjoined and concomitant and, of necessity, at once subject and object to its own activities.

(5) "We do not wish to, the [boys] answered," because, frankly, we are ashamed. How could we not but be ashamed to appear in the house of the lords with our ugly countenances, our eyes which are so big, and our poor appearance? Do you not see that we are nothing more than some [poor] dancers? What shall we tell our companions in poverty who have come with us and wish to see our dances and be entertained by them? How could we do our dances before the lords? For that reason, then, we do not want to go, oh, messengers," said Hunahpú and Xbalanqué. Finally, with downcast faces and with reluctance and sorrow they went; but for a while they did not wish to walk, and the messengers had to beat them in the face many times, when they led them to the house of the lords.

(6) They arrived, then, before the lords, timid and with head bowed; they came prostrating themselves, making reverences and humiliating themselves. They looked feeble, ragged, and their appearance was really that of vagabonds when they arrived they were questioned immediately about their country and their people; they also asked them about their mother and their father. "Where do you come from?" [the lords] said. "We do not know, Sir. We do not know the faces of our mother and father; we were small when they died," they answered, and did not say another word. "All right. Now do [your dances] so that we may admire you. What do you want? We shall give you pay," they told them. "We do not want anything; but really we are very much afraid," they said to the lord.

(411) speedily extinguished; instead of having spirit he grows irritable and passionate and is quite impracticable. Exactly. And so in gymnastics, if a man takes violent exercise and is a great feeder, and the reverse of a great student of music and philosophy, at first the high condition of his body fills him with pride and spirit, and he becomes twice the man that he was. Certainly. And what happens? if he do nothing else, and holds no converse with the Muses, does not even that intelligence which there may be in him, having no taste of any sort of learning or enquiry or thought or culture, grow feeble and dull and blind, his mind never waking up or receiving nourishment, and his senses not being purged of their mists? True, he said. And he ends by becoming a hater of philosophy, uncivilized, never using the weapon of persuasion,—he is like a wild beast, all violence and fierceness, and knows no other way of dealing; and he lives in all ignorance and evil conditions, and has no sense of propriety and grace. That is quite true, he said. And as there are two principles of human nature, one the spirited and the other the philosophical, some God, as I should say, has given mankind two arts answering to them (and only indirectly to the soul and body), in order that these

(24) O nobly-born, when thou art driven [hither and thither] by the ever-moving wind of karma, thine intellect, having no object upon which to rest, will be like a feather tossed about by the wind, riding on the horse of breath. Ceaselessly and involuntarily wilt thou be wandering about. To all those who are weeping [thou wilt say], 'Here I am; weep not.' But they not hearing thee, thou wilt think, 'I am dead!' And again, at that time, thou wilt be feeling very miserable. Be not miserable in that way.