Ancient Art and Ritual. Jane Ellen Harrison

these movements are made by the tribe together they will not become rhythmical; they will probably lack intensity, and certainly permanence. Intensity, then, and collectivity go together, and both are necessary for ritual, but both may be present without constituting art; we have not yet touched the dividing line between art and ritual. When and how does the dromenon, the rite done, pass over into the drama?

      The genius of the Greek language felt, before it consciously knew, the difference. This feeling ahead for distinctions is characteristic of all languages, as has been well shown by Mr. Pearsall Smith6 in another manual of our series. It is an instinctive process arising independently of reason, though afterwards justified by it. What, then, is the distinction between art and ritual which the genius of the Greek language felt after, when it used the two words dromenon and drama for two different sorts of “things done”? To answer our question we must turn for a brief moment to psychology, the science of human behaviour.

      We are accustomed for practical convenience to divide up our human nature into partitions—intellect, will, the emotions, the passions—with further subdivisions, e.g. of the intellect into reason, imagination, and the like. These partitions we are apt to arrange into a sort of order of merit or as it is called a hierarchy, with Reason as head and crown, and under her sway the emotions and passions. The result of establishing this hierarchy is that the impulsive side of our nature comes off badly, the passions and even the emotions lying under a certain ban. This popular psychology is really a convenient and perhaps indispensable mythology. Reason, the emotions, and the will have no more separate existences than Jupiter, Juno, and Minerva.

      A more fruitful way of looking at our human constitution is to see it, not as a bundle of separate faculties, but as a sort of continuous cycle of activities. What really happens is, putting it very roughly, something of this sort. To each one of us the world is, or seems to be, eternally divided into two halves. On the one side is ourself, on the other all the rest of things. All our action, our behaviour, our life, is a relation between these two halves, and that behaviour seems to have three, not divisions, but stages. The outside world, the other half, the object if we like so to call it, acts upon us, gets at us through our senses. We hear or see or taste or feel something; to put it roughly, we perceive something, and as we perceive it, so, instantly, we feel about it, towards it, we have emotion. And, instantly again, that emotion becomes a motive-power, we re-act towards the object that got at us, we want to alter it or our relation to it. If we did not perceive we should not feel, if we did not feel we should not act. When we talk—as we almost must talk—of Reason, the Emotions, or the Passions and the Will leading to action, we think of the three stages or aspects of our behaviour as separable and even perhaps hostile; we want, perhaps, to purge the intellect from all infection of the emotions. But in reality, though at a given moment one or the other element, knowing, feeling, or acting, may be dominant in our consciousness, the rest are always immanent.

      When we think of the three elements or stages, knowing, feeling, striving, as all being necessary factors in any complete bit of human behaviour, we no longer try to arrange them in a hierarchy with knowing or reason at the head. Knowing—that is, receiving and recognizing a stimulus from without—would seem to come first; we must be acted on before we can re-act; but priority confers no supremacy. We can look at it another way. Perceiving is the first rung on the ladder that leads to action, feeling is the second, action is the topmost rung, the primary goal, as it were, of all the climbing. For the purpose of our discussion this is perhaps the simplest way of looking at human behaviour.

      Movement, then, action, is, as it were, the goal and the end of thought. Perception finds its natural outlet and completion in doing. But here comes in a curious consideration important for our purpose. In animals, in so far as they act by “instinct,” as we say, perception, knowing, is usually followed immediately and inevitably by doing, by such doing as is calculated to conserve the animal and his species; but in some of the higher animals, and especially in man, where the nervous system is more complex, perception is not instantly transformed into action; there is an interval for choice between several possible actions. Perception is pent up and becomes, helped by emotion, conscious representation. Now it is, psychologists tell us, just in this interval, this space between perception and reaction, this momentary halt, that all our mental life, our images, our ideas, our consciousness, and assuredly our religion and our art, is built up. If the cycle of knowing, feeling, acting, were instantly fulfilled, that is, if we were a mass of well-contrived instincts, we should hardly have dromena, and we should certainly never pass from dromena to drama. Art and religion, though perhaps not wholly ritual, spring from the incomplete cycle, from unsatisfied desire, from perception and emotion that have somehow not found immediate outlet in practical action. When we come later to establish the dividing line between art and ritual we shall find this fact to be cardinal.

We have next to watch how out of representation repeated there grows up a kind of abstraction which helps the transition from ritual to art. When the men of a tribe return from a hunt, a journey, a battle, or any event that has caused them keen and pleasant emotion, they will often re-act their doings round the camp-fire at night to an attentive audience of women and young boys. The cause of this world-wide custom is no doubt in great part the desire to repeat a pleasant experience; the battle or the hunt will not be re-enacted unless it has been successful. Together with this must be reckoned a motive seldom absent from human endeavour, the desire for self-exhibition, self-enhancement. But in this re-enactment, we see at once, lies the germ of history and of commemorative ceremonial, and also, oddly enough, an impulse emotional in itself begets a process we think of as characteristically and exclusively intellectual, the process of abstraction. The savage begins with the particular battle that actually did happen; but, it is easy to see that if he re-enacts it again and again the particular battle or hunt will be forgotten, the representation cuts itself loose from the particular action from which it arose, and becomes generalized, as it were abstracted. Like children he plays not at a funeral, but at “funerals,” not at a battle, but at battles; and so arises the war-dance, or the death-dance, or the hunt-dance. This will serve to show how inextricably the elements of knowing and feeling are intertwined.

      So, too, with the element of action. If we consider the occasions when a savage dances, it will soon appear that it is not only after a battle or a hunt that he dances in order to commemorate it, but before. Once the commemorative dance has got abstracted or generalized it becomes material for the magical dance, the dance pre-done. A tribe about to go to war will work itself up by a war dance; about to start out hunting they will catch their game in pantomime. Here clearly the main emphasis is on the practical, the active, doing-element in the cycle. The dance is, as it were, a sort of precipitated desire, a discharge of pent-up emotion into action.

      In both these kinds of dances, the dance that commemorates by re-presenting and the dance that anticipates by pre-presenting, Plato would have seen the element of imitation, what the Greeks called mimesis, which we saw he believed to be the very source and essence of all art. In a sense he would have been right. The commemorative dance does especially re-present; it reproduces the past hunt or battle; but if we analyse a little more closely we see it is not for the sake of copying the actual battle itself, but for the emotion felt about the battle. This they desire to re-live. The emotional element is seen still more clearly in the dance fore-done for magical purposes. Success in war or in the hunt is keenly, intensely desired. The hunt or the battle cannot take place at the moment, so the cycle cannot complete itself. The desire cannot find utterance in the actual act; it grows and accumulates by inhibition, till at last the exasperated nerves and muscles can bear it no longer; it breaks out into mimetic anticipatory action. But, and this is the important point, the action is mimetic, not of what you see done by another; but of what you desire to do yourself. The habit of this mimesis of the thing desired, is set up, and ritual begins. Ritual, then, does imitate, but for an emotional, not an altogether practical, end.

      Plato never saw a savage war-dance or a hunt-dance or a rain-dance, and it is not likely that, if he had seen one, he would have allowed it to be art at all. But he must often have seen a class of performances very similar, to which unquestionably