DANCE OF DEATH.

Putaruru Press, Volume VII, Issue 305, 12 September 1929, Page 3

DANCE OF DEATH.

% A FRENZIED MOCKERY. Mysterious Affliction. Students’ Account. Among the most hideous phenomena of tne human mind that the world has seen is the Dance of Death, or, in more popular term, the Danse Macabre, winch swept over Europe in the 14th century (writes " 8.C.” in the Melbourne Age). There lias been much disputing over the derivation of the latter nomenclature, but the generally - accented opinion appears to be. that the word is a corruption of “ Macarius,” the saint to whom the dance was dedicated. The first record of this pantomimic dance, which was originally conceived as a dramatic morality, is in 1384. For some 10 years previously Europe had been ravaged by the Black Death, which in London alone killed hundreds daily for a time. There had been wars and famines ; the people were saturated with misery and acquainted with death in its worst shape, and the result was seen in a sudden reactionary spirit of unnatural levity. The Danse Macabre was in fact a frenzied mockery of the desolation of the times. There is ample evidence to show that it was at first intended to be highly moral in its effect, but it quickly degenerated into appalling scenes of revelry, in which men danced with a fearful irony upon the very bones of their dead fellows.

Dancing Mania. The strangest characteristic of the Danse Macabre was that it was immediately preceded by a sort of epidemic of dancing which was so utterly incomprehensible as to have been without a name. This disease—for it was that appeared first in Germany in 1374, in the shape of a dancing mania, accompanied by abDeration of mind and uncouth distortions o-f the body. It quickly spread to England, where thousands of .people began (to dance involuntary maniac dances in the streets. The most extraordinary scenes were witnessed, almost infernal in character. The following description is taken from an account written by a student of the subject about 100 years ago:—

“ Those who looked on were caught suddenly by the sickness ; j others seemed smitten by the epidemic even within doors, and rushed from their houses to join the danc- . ing crew, unable to resist the frantic • impulse. All joined in one great frenzied round, until the chain was . broken by force—an effort seldom made, as contact seemed to impart the contagion irresistibly to the breaker of the ring—or until they fell exhausted, and even dead, with j fatigue. Death indeed generally ensued upon a seizure by the dancing mania. “ It was immediately following on the disappearance of this dancing mania that the practice began of executing the Dance Macabre. Of its character and form in England ho record remains, but French records * are copious enough. It is from these j that we obtain our pictures of one j of the most appalling scourges ever j inflicted on humanity. The popular rendezvous in Paris for performance of the Danse Macabre was the Cimetiere des Innocents, the central burial place of the city, later converted into markets. The locality was then known as the * Charmers/ or charnel houses, the haunt of thieves and vagabonds a ghastly spot, if j we may believe the historians. Here | is the account of it given by cur { student.—

Dreadful Orgies. “ At the commencement of the 15th century a large chapel was constructed at one of its extremities, and charnel houses, adorned with all the picturesque fancy of the day, were erected round the other three sides. The long alluvium of mortal corruption had raised the whole ground to many feet above the neigh- t bouring streets, and the new struc- j tures formed a sort of temple of J death, in which the dead dominated | the living, and the living in turn j came to gambol in triumphant mockery and contempt over the dead. The lower part was composed of arcades. ■ Above them were upper storeys and ■ lihes of garrets, in which the bones . of the dead were hung up when \ taken from reopened tombs.” I In such surroundings, incredible as j it m:»y appear, Paris held fair, and \ here La Danse Macabre was prab- j tised in its, dreadful orgies, devoid | *of morality or art. The actors in the J dance are described as wearing black j dresses, upon which were painted the j bones of skeletons, and marks repre- l senting skulls. Meantime the fair did . a thriving trade, applauding the j

spectacle of death in effigy, jesting and making love, and thoroughly at home in all respects. Death danced with persons of every age and rank, in representation of the inevitable fate of all, levelling all to the equality of the grave. “ The Shaking of the Sheet.” The popularity of this obscene masquerade was so great that it was made the subject of innumerable paintings on the walls of holy buildings throughout Europe. The Danse Macabre became known as a mystery play, sometimes given the title of “ The Parliament of Death.” The performances varied a great deal but were all distinguished by gross parody of the Divine. Notwithstanding, they seem to have been apr proved thoroughly by the clergy of the time, who even postponed the hours of service in order that people might attend these miracle plays. The earliest painting of the Danse Macabre is said to have been executed in 1383 at Minden, in Westphalia. From this claim arose a dispute as to whether the dance was

evolved from the painting or the painting from the dance. The evidence on either side is confused. The French writer Michelet, however, declared positively that the dances in painting owed their origin to certain sacred representations played in the churches, the streets and the cemeteries. Collected records elsewhere suggest that the two appeared coincidentally. In England the Dance of Death was known as “ The Shaking of the Sheet,” probably in allusion to the cerements of the grave worn by the principal actors in the scene. The name survived for some years as the title of a popular ballad. In the middle ages the unsavoury subject was eagerly seized upon by artists and survives in picture and carving in many countries. The dancing mama attacked Italy in the 16th century, where it was known as Tarantism, owing to a belief that it was caused by the bite of the tarantula spider. However that may be, the Danse Macabre was the outcome of one of the most mysterious afflictions in the history of civilisation. For that reason alone it must always challenge interest.

If you wish to keep your mind healthy you ought to cultivate interests outside your own work. In boyhood this precept is most valuable. Happy is the boy who has hobbies. Ho nin» homo, starts on his stamp-album or his rabbits, or his fret-saw woiix

j his photography, and the hours fly on | wings. Pity the lad who comes home 1 and mouches about the place with hi£ I hands in his pockets and can't find ! anything to do. The best recreation I is a change of occupation. I have ulj ways a good word to say for museums j

and exhibitions. I know the “mus eum” to most people means boredom, dulness. and weariness to the fi rsh. But this ought not to be sc. Are you ; not interested in beautiful pictures*, in ; natural history, or in trophies from j foreign countries? You will find something to amuse you if you try.