The truly lethal part of this primitive warfare is not the formal battle but the sneak raid or stealthy ambush in which not only men but women and children are mercilessly slaughtered. .. . This perpetual bloodshed is carried on for none of the usual reasons for waging war. No territory is won or lost; no goods or prisoners seized. . . . They fight because they enthusiastically enjoy it, because it is to them a vital function of the complete man, and because they feel they must satisfy the ghosts of slain companions. These people, in short, detect in these games a kind of model of the universe, in whose deadly gavotte they can participate through the ritual of war games. Games are dramatic models of our psychological lives providing release of particular tensions. They are collective and popular art forms with strict conventions. Ancient and nonliterate societies naturally regarded games as live dramatic models of the universe or of the outer cosmic drama. The Olympic games were direct enactments of the agon, or struggle of the Sun god. The runners moved around a track adorned with the zodiacal signs in imitation of the daily circuit of the sun chariot. With games and plays that were dramatic enactments of a cosmic struggle, the spectator role was plainly religious. The participation in these rituals kept the cosmos on the right track, as well as providing a booster shot for the tribe. The tribe or the city was a dim replica of that cosmos, as much as were the games, the dances, and the icons. How art became a sort of civilized substitute for magical games and rituals is the story of the detribalization which came with literacy. Art, like games, became a mimetic echo of, and relief from, the old magic of total involvement. As the audience for the magic games and plays became more indi- vidualistic, the role of art and ritual shifted from the cosmic to the humanly psychological, as in Greek drama. Even the ritual became more verbal and less mimetic or dance like. Finally, the