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Thus the Volkslied was the creation as it was the property of the people in just the same sense as were our mediaeval churches. The fact that the authors are not recognizable is vital for this kind of art. The recreations of the people at this time were "Sagen, Singen, Tanzen," story-telling, singing, dancing, in which all joined, high and low together; no others were known.
Professor von Schroeder comments on this, "Es ist merkwurdig genug zu sehen wie das Tanzen nach dem Glauben primitiver Volker eine ahnliche Kraft und Bedeutung zu haben scheint wie man sie auf hoheren Kulturstufen dem inbrunstigen Gebete zuschreibt."
And a special moment for the dance of these glorious youths "ever young brothers of whom none is elder, none younger" is that of the ceremonial sacrifice, "sie tanzen auf ihren himmlischen Bahnen, sie springen und tanzen auch bei den Opferfesten der Menschen."
Better the child than no one, and the shiny head was hanging round the door. "But it isn't schoen! Look! It won't meet!" "Oh!..." Elsa's eyes grew round with horror, and she went to fetch her mother. "Tanzen!" They talked so much of "tanzen" in that household. The thin mother was all sympathy, and stood in helpless sorrow before the gap in the bodice.
This proximity gives rise to a conversation between the two antipodal British authors: Sterne says: “Wir brauchen beide vielen Raum, Your Reverence viel zum Händeringen, Und meine Wenigkeit, zum Pfeifen, Tanzen, Singen.” and later, . . . “Und will von Herzen gern der Thor der Thoren seyn; Jüngst that ich ernst: gleich hielt die Narrheit mich beym Rocke.
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