The Liturgical Context of Early European Drama (PDF)
(Sprache: Englisch)
"This book can be interestingly and profitably read not only by an academic audience but also by a general public for an understanding and appreciation of two bedrocks, drama and liturgy, a twentieth-century culture." Lawrence H. Klibbe, New York...
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"This book can be interestingly and profitably read not only by an academic audience but also by a general public for an understanding and appreciation of two bedrocks, drama and liturgy, a twentieth-century culture." Lawrence H. Klibbe, New York University. "A chapter on coronation rituals will attract special interest among historians."-Journal of Medieval History.
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Introduction (p. 1) Ancient World
The dance seems to have played a vital part in the religious life of many ancient peoples. Perhaps it began as mere ceremony or custom and eventually added with a religious tone, while in some societies it never received a religious significance. Although the dance is mentioned in connection with religious festivity in the Old Testament, it never really attained a place of importance. We read in Exodus 15:20-21:
"The prophetess Miriam, Aaron`s sister, took a tambourine in her hand, while all the women went out after her with tambourines, dancing, and she led them in the refrain: Sing to the Lord, for he is gloriously triumphant, horse and chariot he has cast into the sea."
The overall tone of this incident is one of joy and festivity. The people had been freed by the power of their God, and He had manifested to them His concern and care. There is rejoicing because that which has taken place delights the people, while at the same time some sort of praise is rendered by dance, to the Divinity.
Several hundred years later David has the Ark placed on a new cart to be brought to Jerusalem. David made merry with all his strength, with singing and with cymbals. One reads in // Samuel 6:14, 16:19: "Then David, girt with a linen apron, came dancing before the Lord with abandon, as he and all the Israelites were bringing up the Ark of the Lord with shouts of joy and to the sound of the horn...Saul`s daughter Michal looked down through the window and saw King David leaping and dancing before the Lord...David offered holocausts and peace offerings before the Lord...he blesses the people then distributed among all the people, to each man and each woman in the entire multitude of Israel, a loaf of bread, a cut of roast meat, and a raisin cake. With this, all the people left for their homes."
Dance and celebration seem to recieve the game attention as the transferral of the Ark. It comes as no surprise to view
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this expression of worship in the Judeo-Christian tradition, i.e., both the spiritual as well as physical element in man have equal share in adoring the invisible God. The dance, in this context, although performed by David alone, retains its dignified expression of prayer.
His dancing before the Lord, is the externalization of that same sentiment which he expresses in offering holocausts and peace offerings the formalized pattern of prayer. For David, this dancing and making merry before the Lord, are truly expressions of adoration.
The religious tone is not diminished by the mentioning of the distribution of bread, meat and raisin cake, on the contrary, it seems to intensify the overall well being that the worshipers experience after good liturgy, i.e., public worship. On the other hand, the dance in the Germania of Tacitus (55-120 A.D.) is mentioned as a form of public show.
His dancing before the Lord, is the externalization of that same sentiment which he expresses in offering holocausts and peace offerings the formalized pattern of prayer. For David, this dancing and making merry before the Lord, are truly expressions of adoration.
The religious tone is not diminished by the mentioning of the distribution of bread, meat and raisin cake, on the contrary, it seems to intensify the overall well being that the worshipers experience after good liturgy, i.e., public worship. On the other hand, the dance in the Germania of Tacitus (55-120 A.D.) is mentioned as a form of public show.
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Bibliographische Angaben
- Autor: Salvatore Paterno
- 1989, 1. Auflage, 170 Seiten, Englisch
- Verlag: Digitalia
- ISBN-10: 0916379620
- ISBN-13: 9780916379629
- Erscheinungsdatum: 01.01.1989
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