One definite result has, however, been obtained; it is now generally admitted that the so-called Sword Dances, with the closely related Morris Dances, and Mumming Plays, are not mere survivals of martial exercises, an inherited tradition from our warrior ancestors, but were solemn, ceremonial (in some cases there is reason to believe, Initiatory) dances, performed at stated seasons of the year, and directly and intimately connected with the ritual of which we have treated in previous chapters, a ritual designed to preserve and promote the regular and ordered sequence of the processes of Nature.  And here, again, our enquiry must begin with the very earliest records of our race, with the traditions of our Aryan forefathers.

The earliest recorded Sword Dancers are undoubtedly the Maruts, those swift-footed youths in gleaming armour who are the faithful attendants on the great god, Indra.  Professor von Schroeder, in Mysterium und Mimus, describes them thus:[1] they are a group of youths of equal age and identical parentage, they are always depicted as attired in the same manner, “Sie sind reich und prächtig geschmückt, mit Goldschmuck auf der Brust, mit Spangen an den Händen, Hirschfelle tragen sie auf den Schultern.  Vor allem aber sind sie kriegerisch gerüstet, funkelnde Speere tragen sie in den Händen, oder auch goldene Äxte.  Goldene Harnische oder Mäntel umhüllen sie, goldene Helme schimmern auf ihren Häuptern.  Nie erscheinen sie ohne Wehr und Waffen.  Es scheint dass diese ganz und gar zu ihren Wesen gehören.”

The writer goes on to remark that when such a band of armed youths, all of the same age, always closely associated with each other, are represented as Dancers, and always as Dancers—­“dann haben wir unabweislich das Bild eines Waffentanzes vor unseren Augen”—­and Professor von Schroeder is undoubtedly right.

Constantly throughout the Rig-Veda the Maruts are referred to as Dancers, “gold-bedecked Dancers,” “with songs of praise they danced round the spring,” “When ye Maruts spear-armed dance, they (i.e., the Heavens) stream together like waves of water."[2]

And a special moment for the dance of these glorious youths “ever young brothers of whom none is elder, none younger"[3] is that of the ceremonial sacrifice, “sie tanzen auf ihren himmlischen Bahnen, sie springen und tanzen auch bei den Opferfesten der Menschen."[4]

The Maruts, as said above, were conceived of as the companions of Indra, and helpers in his fight against his monstrous adversaries; thus they were included in the sacrifices offered in honour of that Deity.

One of the most striking of the ritual Dramas reconstructed by Professor von Schroeder is that which represents Indra as indignantly rejecting the claim of the Maruts to share in such a sacrifice; they had failed to support him in his conflict with the dragon, Vritra, when by his might he loosed the waters, ’neither to-day, nor to-morrow’ will he accept a sacrifice of which they share the honour; it requires all the tact of the Offerer, Agastya, and of the leader of the Maruts to soothe the offended Deity.[5]