DANCING
DAEKNESS
being the i>x^ol, not the Pliarisees, ami irdXii' he regards as a harmonistic insertion. He believes that 8" orighially followed immediately upon 8- Kal ^pxovTaL €ts Bi^dtratddv.
Thus not even the geographical problem is solved. If the suggestion on the origin of Dalmanutlia, as put forward by Donaldson, Harris, and the present writer, were to turn out correct, it would have im- portant consequences for the Synoptic Problem. For then this reading cannot well have had its origin in oral tradition, but presupposes a written (Aramaic) document as the ba.sis of our Second Gospel.
Schultze, lialmanutha : Geographiscli-linijuistische Untenueh-
Sanday, Sacred Sites of the Gospels, p. 22 f. ; Merx, Die vier kanonischen Evangetien, ii. 2 (1905), p. 79 [warns against identification with EddeViemiye, gives as reading of the Ann. Dahnanoun, and claims for the reading Dalmanutha, which is not recognized by the old texts (syr =1" D, Old Lat. Ulf.), an Egyptian origin]. Eb. NesTLE.
DANCING.— 1. Manner.— The Oriental dance was performed either by an individual man or woman, or by crescent lines of men dancing together and holding each other's hands, or of women by them- selves performing similar movements. The one at the end of the line waved a scarf and acted as choregos, or dance-leader. At times also a line of men and women, with hands joined, confronted another similar line, and the dance consisted in their alternate advance and retreat, accompanied by the hand-clapping of the onlookers beating time to the music, by the scarf-waving and occasional shout, and, at regulated intervals, the resounding tread of the dancers. In the case of the individual, the abrupt muscular actions were artistically re- lieved, as in the contrasting lines of male and female attire in the Western dance, by the soft and swaying undulations of the dancer's figure. The accompaniment of song, hand-clapping, and musical instruments served to control the energy and secure unity of movement.
2. Place. — On the occasion of a wedding in a
Seasant's house a space was kept clear near the oor, and into it one after another stepped forward and danced, and retired among the shadows ; the (lancing of the bride receiving especial attention and applause. For dancing in companies, the flat roof, or any level space beside the house, wa.s resorted to. In the cities and in the houses of the rich, the large reception room, or the open paved court, into which all the apartments opened, was available for the purpose. In festive processions the male or female performers, singly or in couples, stepped to the front and danced with sword and .shield, and then gave place to others.
3. Occasions. — In the East, dancing has never been regarded as an end in itself and promoted as an entertainment chiefly for those actively taking part in it, but rather as a demonstration of feeling dueto some special incident or situation. In family life this was principally the event of mar- riage (Mt 11", Lk 7^=); and a similar ex of feeling often attended the birth of a covery from sickness, return from a journey, or the reception of a guest whose presence called for such a nianifestation of grateful rejoicing. Birth- days did not usually receive such notice, as they lacked the element of relief from danger, recom- pense and rest after hardship, or the introduction of something new into tlio family conditions. Herod's birthday foast (whon Salome danced before the gtip^t-., Mt 1(1;, Ml; (i-t v,:io ..,,1 imitation of Gent ill' rn tniii . M,,i. . , i;. ! I , , ~ions were the
founding. if;, l„iil,lii, ., n, lu , IP.; of harvest,
and the lvliL;i,„i- ]r,l]^;.U.iI lii- mm
and young, and including all classes, indicated a simple life, in which the feeling of the moment found hearty and uncritical expression. The view of life was one that recognized the easy and rapid interchange of joy and grief (Ps30'-", La5'^ Ec 3^). Further, it implied a very close connexion between mental and physical states. As there was a union of mirth and dancing, so there was an equally natural correspondence between sorrow and sighing (Is 35'°). Even in places dedicated to relaxation and delight, by the rivers of Babylon, it was impossible for captive exiles to sing the songs of the Lord's deliverance (Ps 137'-'). The elder brother could take no part in mirth and dancing of which the occasion was so atl'ronting and ofi'ensive to himself (Lk 15'*"'''). Hence among a people marked by mobility of temperament and prone to e.xtremes of feeling, the children in the market-place might well reproach their companions who heard the wedding music without rising to the dance, and the wail of bereavement without being moved to pity (Mt 11", Lk 7^-).
Literature. — Hastings' VB, art. 'Dancing'; Delitzsch, Iris^ 189 ff. ; Thomson, Land and Book, 555 f.
G. M. Mackie.
DANIEL. — The influence of Daniel on the Apoca- lyptic conceptions of the Gospels is profound (see Apocalyptic Literature). For the possible in- fluence of Dn 7'^ see Son of Max. The only pas- sage in which the book is explicitly mentioned is Mt 24'*, where the phrase t6 /SSAiry^a rijs ipriiiiiicreus ('the abomination of desolation') is quoted. See art. Abomination of Desolation. It is to be noted that in the corresponding passage in Mark (IS"), no mention is made of Daniel. In view of the accepted priority of Mark and his clo.ser fidelity, and also of Matthew's fondness for OT references, the absence of the clause rai.ses the suspicion that it is not part of the original utterance, but a comment added by the latter Evangelist. In that case it would not be necessary to assume that Jesus meant to use the phrase in the same sense as it is used in Daniel. He may have only adopted or borrowed it as a current popular expression to describe some minatory event which He foresaw portending the forthcoming calamity.