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.

The Salii formed a college of priests, twelve in number, dedicated to the service of Mars, who, it is important to remember, was originally a god of growth and vegetation, a Spring Deity, who bestowed his name on the vernal month of March; only by degrees did the activities of the god become specially connected with the domain of War.[18]

There seem to have been two groups of Salii, one having their college on the Palatine, the other on the Quirinal; the first were the more important.  The Quirinal group shared in the celebrations of the latter part of the month only.

The first of March was the traditional birthday of Mars, and from that date, during the whole of the month, the Salii offered sacrifices and performed dances in his honour.  They wore pointed caps, or helmets, on their head, were girt with swords, and carried on the left arm shields, copied from the ‘ancilia’ or traditional shield of Mars, fabled to have fallen from heaven.  In their right hand they bore a small lance.

Dionysus of Halicarnassus, in a passage describing the Salii, says, “they carried in their right hand a spear, or staff, or something of that sort.”  Miss Harrison, quoting this passage, gives a reproduction of a bas-relief representing the Salii carrying what she says “are clearly drumsticks.” (As a matter of fact they very closely resemble the ‘Wands’ which in the Tarot cards sometimes represent the ‘Lance’ suit.)

Miss Harrison suggests that the original shields were made of skins, stretched upon a frame, and beaten by these ‘drumsticks.’  This may quite well have been the case, and it would bear out my contention that the original contact of weapon and shield was designed rather as a rhythmic accompaniment to the Dance, than as a display of skill in handling sword and lance, i.e., that these dances were not primarily warlike exercises.