DANCER AND MUSICIAN. 207 



and appointed to the service, like the Levites, among the 

 Jews.&quot; Songs and clapping of hands are mentioned by him 

 as parts of the worship. Moreover the wall-paintings yield 

 proofs. &quot; That they also danced at the temples in honour 

 of the gods, is evident from the representations of several 

 sacred processions. 7 Wilkinson is now somewhat out of 

 date; but these assertions are not incongruous with those 

 made by later writers. The association between the temple 

 and the palace was in all ways intimate, and while, accord 

 ing to Brugsch, one steward of the king s household &quot; was 

 over the singing and playing,&quot; Duncker states that &quot; in 

 every temple there was ... a minstrel.&quot; So too, Tiele, 

 speaking of Imhotep, son of Ptah, says 



&quot;The texts designate him as the first of the Cher-hib, a class of 

 priests who were at the same time choristers and physicians.&quot; 



But Rawlinson thinks that music had, in the days of his 

 torical Egypt, become largely secularized : &quot; Music was 

 used, in the main, as a light entertainment . . . The reli 

 gious ceremonies into which music entered were mostly of 

 an equivocal character.&quot; 



Similar was the genesis which occurred in Greece. A 

 brief indication of the fact is conveyed by the statement of 

 Guhl and Koner that all the dances &quot; were originally con 

 nected with religious worship.&quot; The union of dancing and 

 singing as components of the same ceremony, is implied by 

 Moulton s remark that 



&quot; Chorus is one example amongst many of expressions that convey 

 musical associations to us, but are terms originally of dancing. The 

 chorus was the most elaborate of the lyric ballad-dances.&quot; 



And that the associated use of the two was religious is shown 

 by the description of Grote, who writes: 



&quot;The chorus, with song and dance combined, constituted an im 

 portant part of divine service throughout all Greece. It was originally 

 a public manifestation of the citizens generally. . . . But in process 

 of time, the performance at the chief festival tended to become more 

 elaborate and to fall into the hands of persons expressly and profes 

 sionally trained.&quot; 



