The Golden Bough Part 15

His death appears to have been annually mourned, to the shrill music of flutes, by men and women about midsummer in the month named after him, the month of Tammuz. The dirges were seemingly chanted over an effigy of the dead G.o.d, which was washed with pure water, anointed with oil, and clad in a red robe, while the fumes of incense rose into the air, as if to stir his dormant senses by their pungent fragrance and wake him from the sleep of death. In one of these dirges, inscribed Lament of the Flutes for Tammuz, we seem still to hear the voices of the singers chanting the sad refrain and to catch, like far-away music, the wailing notes of the flutes:

"At his vanishing away she lifts up a lament, 'Oh my child!' at his vanishing away she lifts up a lament; 'My Damu!' at his vanishing away she lifts up a lament.

'My enchanter and priest!' at his vanishing away she lifts up a lament, At the shining cedar, rooted in a s.p.a.cious place, In Eanna, above and below, she lifts up a lament.

Like the lament that a house lifts up for its master, lifts she up a lament, Like the lament that a city lifts up for its lord, lifts she up a lament.

Her lament is the lament for a herb that grows not in the bed, Her lament is the lament for the corn that grows not in the ear.

Her chamber is a possession that brings not forth a possession, A weary woman, a weary child, forspent.

Her lament is for a great river, where no willows grow, Her lament is for a field, where corn and herbs grow not.

Her lament is for a pool, where fishes grow not.

Her lament is for a thickest of reeds, where no reeds grow.

Her lament is for woods, where tamarisks grow not.

Her lament is for a wilderness where no cypresses (?) grow.

Her lament is for the depth of a garden of trees, where honey and wine grow not.

Her lament is for meadows, where no plants grow.

Her lament is for a palace, where length of life grows not."

The tragical story and the melancholy rites of Adonis are better known to us from the descriptions of Greek writers than from the fragments of Babylonian literature or the brief reference of the prophet Ezekiel, who saw the women of Jerusalem weeping for Tammuz at the north gate of the temple. Mirrored in the gla.s.s of Greek mythology, the oriental deity appears as a comely youth beloved by Aphrodite. In his infancy the G.o.ddess hid him in a chest, which she gave in charge to Persephone, queen of the nether world. But when Persephone opened the chest and beheld the beauty of the babe, she refused to give him back to Aphrodite, though the G.o.ddess of love went down herself to h.e.l.l to ransom her dear one from the power of the grave. The dispute between the two G.o.ddesses of love and death was settled by Zeus, who decreed that Adonis should abide with Persephone in the under world for one part of the year, and with Aphrodite in the upper world for another part. At last the fair youth was killed in hunting by a wild boar, or by the jealous Ares, who turned himself into the likeness of a boar in order to compa.s.s the death of his rival. Bitterly did Aphrodite lament her loved and lost Adonis. In this form of the myth, the contest between Aphrodite and Persephone for the possession of Adonis clearly reflects the struggle between Ishtar and Allatu in the land of the dead, while the decision of Zeus that Adonis is to spend one part of the year under ground and another part above ground is merely a Greek version of the annual disappearance and reappearance of Tammuz.

x.x.x. Adonis in Syria

THE MYTH of Adonis was localised and his rites celebrated with much solemnity at two places in Western Asia. One of these was Byblus on the coast of Syria, the other was Paphos in Cyprus. Both were great seats of the worship of Aphrodite, or rather of her Semitic counterpart, Astarte; and of both, if we accept the legends, Cinyras, the father of Adonis, was king. Of the two cities Byblus was the more ancient; indeed it claimed to be the oldest city in Phoenicia, and to have been founded in the early ages of the world by the great G.o.d El, whom Greeks and Romans identified with Cronus and Saturn respectively. However that may have been, in historical times it ranked as a holy place, the religious capital of the country, the Mecca or Jerusalem of the Phoenicians. The city stood on a height beside the sea, and contained a great sanctuary of Astarte, where in the midst of a s.p.a.cious open court, surrounded by cloisters and approached from below by staircases, rose a tall cone or obelisk, the holy image of the G.o.ddess. In this sanctuary the rites of Adonis were celebrated. Indeed the whole city was sacred to him, and the river Nahr Ibrahim, which falls into the sea a little to the south of Byblus, bore in antiquity the name of Adonis. This was the kingdom of Cinyras. From the earliest to the latest times the city appears to have been ruled by kings, a.s.sisted perhaps by a senate or council of elders.

The last king of Byblus bore the ancient name of Cinyras, and was beheaded by Pompey the Great for his tyrannous excesses. His legendary namesake Cinyras is said to have founded a sanctuary of Aphrodite, that is, of Astarte, at a place on Mount Lebanon, distant a day's journey from the capital. The spot was probably Aphaca, at the source of the river Adonis, half-way between Byblus and Baalbec; for at Aphaca there was a famous grove and sanctuary of Astarte which Constantine destroyed on account of the flagitious character of the worship. The site of the temple has been discovered by modern travellers near the miserable village which still bears the name of Afka at the head of the wild, romantic, wooded gorge of the Adonis. The hamlet stands among groves of n.o.ble walnut-trees on the brink of the lyn. A little way off the river rushes from a cavern at the foot of a mighty amphitheatre of towering cliffs to plunge in a series of cascades into the awful depths of the glen. The deeper it descends, the ranker and denser grows the vegetation, which, sprouting from the crannies and fissures of the rocks, spreads a green veil over the roaring or murmuring stream in the tremendous chasm below. There is something delicious, almost intoxicating, in the freshness of these tumbling waters, in the sweetness and purity of the mountain air, in the vivid green of the vegetation. The temple, of which some ma.s.sive hewn blocks and a fine column of Syenite granite still mark the site, occupied a terrace facing the source of the river and commanding a magnificent prospect. Across the foam and the roar of the waterfalls you look up to the cavern and away to the top of the sublime precipices above. So lofty is the cliff that the goats which creep along its ledges to browse on the bushes appear like ants to the spectator hundreds of feet below. Seaward the view is especially impressive when the sun floods the profound gorge with golden light, revealing all the fantastic b.u.t.tresses and rounded towers of its mountain rampart, and falling softly on the varied green of the woods which clothe its depths. It was here that, according to the legend, Adonis met Aphrodite for the first or the last time, and here his mangled body was buried. A fairer scene could hardly be imagined for a story of tragic love and death. Yet, sequestered as the valley is and must always have been, it is not wholly deserted. A convent or a village may be observed here and there standing out against the sky on the top of some beetling crag, or clinging to the face of a nearly perpendicular cliff high above the foam and the din of the river; and at evening the lights that twinkle through the gloom betray the presence of human habitations on slopes which might seem inaccessible to man. In antiquity the whole of the lovely vale appears to have been dedicated to Adonis, and to this day it is haunted by his memory; for the heights which shut it in are crested at various points by ruined monuments of his worship, some of them overhanging dreadful abysses, down which it turns the head dizzy to look and see the eagles wheeling about their nests far below. One such monument exists at Ghineh. The face of a great rock, above a roughly hewn recess, is here carved with figures of Adonis and Aphrodite. He is portrayed with spear in rest, awaiting the attack of a bear, while she is seated in an att.i.tude of sorrow. Her grief-stricken figure may well be the mourning Aphrodite of the Lebanon described by Macrobius, and the recess in the rock is perhaps her lover's tomb. Every year, in the belief of his worshippers, Adonis was wounded to death on the mountains, and every year the face of nature itself was dyed with his sacred blood. So year by year the Syrian damsels lamented his untimely fate, while the red anemone, his flower, bloomed among the cedars of Lebanon, and the river ran red to the sea, fringing the winding sh.o.r.es of the blue Mediterranean, whenever the wind set insh.o.r.e, with a sinuous band of crimson.

x.x.xI. Adonis in Cyprus

THE ISLAND of Cyprus lies but one day's sail from the coast of Syria. Indeed, on fine summer evenings its mountains may be descried looming low and dark against the red fires of sunset. With its rich mines of copper and its forests of firs and stately cedars, the island naturally attracted a commercial and maritime people like the Phoenicians; while the abundance of its corn, its wine, and its oil must have rendered it in their eyes a Land of Promise by comparison with the n.i.g.g.ardly nature of their own rugged coast, hemmed in between the mountains and the sea. Accordingly they settled in Cyprus at a very early date and remained there long after the Greeks had also established themselves on its sh.o.r.es; for we know from inscriptions and coins that Phoenician kings reigned at Citium, the Chittim of the Hebrews, down to the time of Alexander the Great. Naturally the Semitic colonists brought their G.o.ds with them from the mother-land. They worshipped Baal of the Lebanon, who may well have been Adonis, and at Amathus on the south coast they inst.i.tuted the rites of Adonis and Aphrodite, or rather Astarte. Here, as at Byblus, these rites resembled the Egyptian worship of Osiris so closely that some people even identified the Adonis of Amathus with Osiris.

But the great seat of the worship of Aphrodite and Adonis in Cyprus was Paphos on the south-western side of the island. Among the petty kingdoms into which Cyprus was divided from the earliest times until the end of the fourth century before our era Paphos must have ranked with the best. It is a land of hills and billowy ridges, diversified by fields and vineyards and intersected by rivers, which in the course of ages have carved for themselves beds of such tremendous depth that travelling in the interior is difficult and tedious. The lofty range of Mount Olympus (the modern Troodos), capped with snow the greater part of the year, screens Paphos from the northerly and easterly winds and cuts it off from the rest of the island. On the slopes of the range the last pine-woods of Cyprus linger, sheltering here and there monasteries in scenery not unworthy of the Apennines. The old city of Paphos occupied the summit of a hill about a mile from the sea; the newer city sprang up at the harbour some ten miles off. The sanctuary of Aphrodite at Old Paphos (the modern Kuklia) was one of the most celebrated shrines in the ancient world. According to Herodotus, it was founded by Phoenician colonists from Ascalon; but it is possible that a native G.o.ddess of fertility was worshipped on the spot before the arrival of the Phoenicians, and that the newcomers identified her with their own Baalath or Astarte, whom she may have closely resembled. If two deities were thus fused in one, we may suppose that they were both varieties of that great G.o.ddess of motherhood and fertility whose worship appears to have been spread all over Western Asia from a very early time. The supposition is confirmed as well by the archaic shape of her image as by the licentious character of her rites; for both that shape and those rites were shared by her with other Asiatic deities. Her image was simply a white cone or pyramid. In like manner, a cone was the emblem of Astarte at Byblus, of the native G.o.ddess whom the Greeks called Artemis at Perga in Pamphylia, and of the sun-G.o.d Heliogabalus at Emesa in Syria. Conical stones, which apparently served as idols, have also been found at Golgi in Cyprus, and in the Phoenician temples of Malta; and cones of sandstone came to light at the shrine of the "Mistress of Torquoise" among the barren hills and frowning precipices of Sinai.

In Cyprus it appears that before marriage all women were formerly obliged by custom to prost.i.tute themselves to strangers at the sanctuary of the G.o.ddess, whether she went by the name of Aphrodite, Astarte, or what not. Similar customs prevailed in many parts of Western Asia. Whatever its motive, the practice was clearly regarded, not as an orgy of l.u.s.t, but as a solemn religious duty performed in the service of that great Mother G.o.ddess of Western Asia whose name varied, while her type remained constant, from place to place. Thus at Babylon every woman, whether rich or poor, had once in her life to submit to the embraces of a stranger at the temple of Mylitta, that is, of Ishtar or Astarte, and to dedicate to the G.o.ddess the wages earned by this sanctified harlotry. The sacred precinct was crowded with women waiting to observe the custom. Some of them had to wait there for years. At Heliopolis or Baalbec in Syria, famous for the imposing grandeur of its ruined temples, the custom of the country required that every maiden should prost.i.tute herself to a stranger at the temple of Astarte, and matrons as well as maids testified their devotion to the G.o.ddess in the same manner. The emperor Constantine abolished the custom, destroyed the temple, and built a church in its stead. In Phoenician temples women prost.i.tuted themselves for hire in the service of religion, believing that by this conduct they propitiated the G.o.ddess and won her favour. "It was a law of the Amorites, that she who was about to marry should sit in fornication seven days by the gate." At Byblus the people shaved their heads in the annual mourning for Adonis. Women who refused to sacrifice their hair had to give themselves up to strangers on a certain day of the festival, and the money which they thus earned was devoted to the G.o.ddess. A Greek inscription found at Tralles in Lydia proves that the practice of religious prost.i.tution survived in that country as late as the second century of our era. It records of a certain woman, Aurelia Aemilia by name, not only that she herself served the G.o.d in the capacity of a harlot at his express command, but that her mother and other female ancestors had done the same before her; and the publicity of the record, engraved on a marble column which supported a votive offering, shows that no stain attached to such a life and such a parentage. In Armenia the n.o.blest families dedicated their daughters to the service of the G.o.ddess Anaitis in her temple of Acilisena, where the damsels acted as prost.i.tutes for a long time before they were given in marriage. n.o.body scrupled to take one of these girls to wife when her period of service was over. Again, the G.o.ddess Ma was served by a mult.i.tude of sacred harlots at Comana in Pontus, and crowds of men and women flocked to her sanctuary from the neighbouring cities and country to attend the biennial festivals or to pay their vows to the G.o.ddess.

If we survey the whole of the evidence on this subject, some of which has still to be laid before the reader, we may conclude that a great Mother G.o.ddess, the personification of all the reproductive energies of nature, was worshipped under different names but with a substantial similarity of myth and ritual by many peoples of Western Asia; that a.s.sociated with her was a lover, or rather series of lovers, divine yet mortal, with whom she mated year by year, their commerce being deemed essential to the propagation of animals and plants, each in their several kind; and further, that the fabulous union of the divine pair was simulated and, as it were, multiplied on earth by the real, though temporary, union of the human s.e.xes at the sanctuary of the G.o.ddess for the sake of thereby ensuring the fruitfulness of the ground and the increase of man and beast.

At Paphos the custom of religious prost.i.tution is said to have been inst.i.tuted by King Cinyras, and to have been practised by his daughters, the sisters of Adonis, who, having incurred the wrath of Aphrodite, mated with strangers and ended their days in Egypt. In this form of the tradition the wrath of Aphrodite is probably a feature added by a later authority, who could only regard conduct which shocked his own moral sense as a punishment inflicted by the G.o.ddess instead of as a sacrifice regularly enjoined by her on all her devotees. At all events the story indicates that the princesses of Paphos had to conform to the custom as well as women of humble birth.

Among the stories which were told of Cinyras, the ancestor of the priestly kings of Paphos and the father of Adonis, there are some that deserve our attention. In the first place, he is said to have begotten his son Adonis in incestuous intercourse with his daughter Myrrha at a festival of the corn-G.o.ddess, at which women robed in white were wont to offer corn-wreaths as first-fruits of the harvest and to observe strict chast.i.ty for nine days. Similar cases of incest with a daughter are reported of many ancient kings. It seems unlikely that such reports are without foundation, and perhaps equally improbable that they refer to mere fortuitous outbursts of unnatural l.u.s.t. We may suspect that they are based on a practice actually observed for a definite reason in certain special circ.u.mstances. Now in countries where the royal blood was traced through women only, and where consequently the king held office merely in virtue of his marriage with an hereditary princess, who was the real sovereign, it appears to have often happened that a prince married his own sister, the princess royal, in order to obtain with her hand the crown which otherwise would have gone to another man, perhaps to a stranger. May not the same rule of descent have furnished a motive for incest with a daughter? For it seems a natural corollary from such a rule that the king was bound to vacate the throne on the death of his wife, the queen, since he occupied it only by virtue of his marriage with her. When that marriage terminated, his right to the throne terminated with it and pa.s.sed at once to his daughter's husband. Hence if the king desired to reign after his wife's death, the only way in which he could legitimately continue to do so was by marrying his daughter, and thus prolonging through her the t.i.tle which had formerly been his through her mother.

Cinyras is said to have been famed for his exquisite beauty and to have been wooed by Aphrodite herself. Thus it would appear, as scholars have already observed, that Cinyras was in a sense a duplicate of his handsome son Adonis, to whom the inflammable G.o.ddess also lost her heart. Further, these stories of the love of Aphrodite for two members of the royal house of Paphos can hardly be dissociated from the corresponding legend told of Pygmalion, a Phoenician king of Cyprus, who is said to have fallen in love with an image of Aphrodite and taken it to his bed. When we consider that Pygmalion was the father-in-law of Cinyras, that the son of Cinyras was Adonis, and that all three, in successive generations, are said to have been concerned in a love-intrigue with Aphrodite, we can hardly help concluding that the early Phoenician kings of Paphos, or their sons, regularly claimed to be not merely the priests of the G.o.ddess but also her lovers, in other words, that in their official capacity they personated Adonis. At all events Adonis is said to have reigned in Cyprus, and it appears to be certain that the t.i.tle of Adonis was regularly borne by the sons of all the Phoenician kings of the island. It is true that the t.i.tle strictly signified no more than "lord"; yet the legends which connect these Cyprian princes with the G.o.ddess of love make it probable that they claimed the divine nature as well as the human dignity of Adonis. The story of Pygmalion points to a ceremony of a sacred marriage in which the king wedded the image of Aphrodite, or rather of Astarte. If that was so, the tale was in a sense true, not of a single man only, but of a whole series of men, and it would be all the more likely to be told of Pygmalion, if that was a common name of Semitic kings in general, and of Cyprian kings in particular. Pygmalion, at all events, is known as the name of the king of Tyre from whom his sister Dido fled; and a king of Citium and Idalium in Cyprus, who reigned in the time of Alexander the Great, was also called Pygmalion, or rather Pumiyathon, the Phoenician name which the Greeks corrupted into Pygmalion. Further, it deserves to be noted that the names Pygmalion and Astarte occur together in a Punic inscription on a gold medallion which was found in a grave at Carthage; the characters of the inscription are of the earliest type. As the custom of religious prost.i.tution at Paphos is said to have been founded by king Cinyras and observed by his daughters, we may surmise that the kings of Paphos played the part of the divine bridegroom in a less innocent rite than the form of marriage with a statue; in fact, that at certain festivals each of them had to mate with one or more of the sacred harlots of the temple, who played Astarte to his Adonis. If that was so, there is more truth than has commonly been supposed in the reproach cast by the Christian fathers that the Aphrodite worshipped by Cinyras was a common wh.o.r.e. The fruit of their union would rank as sons and daughters of the deity, and would in time become the parents of G.o.ds and G.o.ddesses, like their fathers and mothers before them. In this manner Paphos, and perhaps all sanctuaries of the great Asiatic G.o.ddess where sacred prost.i.tution was practised, might be well stocked with human deities, the offspring of the divine king by his wives, concubines, and temple harlots. Any one of these might probably succeed his father on the throne or be sacrificed in his stead whenever stress of war or other grave junctures called, as they sometimes did, for the death of a royal victim. Such a tax, levied occasionally on the king's numerous progeny for the good of the country, would neither extinguish the divine stock nor break the father's heart, who divided his paternal affection among so many. At all events, if, as there seems reason to believe, Semitic kings were often regarded at the same time as hereditary deities, it is easy to understand the frequency of Semitic personal names which imply that the bearers of them were the sons or daughters, the brothers or sisters, the fathers or mothers of a G.o.d, and we need not resort to the shifts employed by some scholars to evade the plain sense of the words. This interpretation is confirmed by a parallel Egyptian usage; for in Egypt, where the kings were worshipped as divine, the queen was called "the wife of the G.o.d" or "the mother of the G.o.d," and the t.i.tle "father of the G.o.d" was borne not only by the king's real father but also by his father-in-law. Similarly, perhaps, among the Semites any man who sent his daughter to swell the royal harem may have been allowed to call himself "the father of the G.o.d."

If we may judge by his name, the Semitic king who bore the name of Cinyras was, like King David, a harper; for the name of Cinyras is clearly connected with the Greek cinyra, "a lyre," which in its turn comes from the Semitic kinnor, "a lyre," the very word applied to the instrument on which David played before Saul. We shall probably not err in a.s.suming that at Paphos as at Jerusalem the music of the lyre or harp was not a mere pastime designed to while away an idle hour, but formed part of the service of religion, the moving influence of its melodies being perhaps set down, like the effect of wine, to the direct inspiration of a deity. Certainly at Jerusalem the regular clergy of the temple prophesied to the music of harps, of psalteries, and of cymbals; and it appears that the irregular clergy also, as we may call the prophets, depended on some such stimulus for inducing the ecstatic state which they took for immediate converse with the divinity. Thus we read of a band of prophets coming down from a high place with a psaltery, a timbrel, a pipe, and a harp before them, and prophesying as they went. Again, when the united forces of Judah and Ephraim were traversing the wilderness of Moab in pursuit of the enemy, they could find no water for three days, and were like to die of thirst, they and the beasts of burden. In this emergency the prophet Elisha, who was with the army, called for a minstrel and bade him play. Under the influence of the music he ordered the soldiers to dig trenches in the sandy bed of the waterless waddy through which lay the line of march. They did so, and next morning the trenches were full of the water that had drained down into them underground from the desolate, forbidding mountains on either hand. The prophet's success in striking water in the wilderness resembles the reported success of modern dowsers, though his mode of procedure was different. Incidentally he rendered another service to his countrymen. For the skulking Moabites from their lairs among the rocks saw the red sun of the desert reflected in the water, and taking it for the blood, or perhaps rather for an omen of the blood, of their enemies, they plucked up heart to attack the camp and were defeated with great slaughter.

Again, just as the cloud of melancholy which from time to time darkened the moody mind of Saul was viewed as an evil spirit from the Lord vexing him, so on the other hand the solemn strains of the harp, which soothed and composed his troubled thoughts, may well have seemed to the hag-ridden king the very voice of G.o.d or of his good angel whispering peace. Even in our own day a great religious writer, himself deeply sensitive to the witchery of music, has said that musical notes, with all their power to fire the blood and melt the heart, cannot be mere empty sounds and nothing more; no, they have escaped from some higher sphere, they are outpourings of eternal harmony, the voice of angels, the Magnificat of saints. It is thus that the rude imaginings of primitive man are transfigured and his feeble lispings echoed with a rolling reverberation in the musical prose of Newman. Indeed the influence of music on the development of religion is a subject which would repay a sympathetic study. For we cannot doubt that this, the most intimate and affecting of all the arts, has done much to create as well as to express the religious emotions, thus modifying more or less deeply the fabric of belief to which at first sight it seems only to minister. The musician has done his part as well as the prophet and the thinker in the making of religion. Every faith has its appropriate music, and the difference between the creeds might almost be expressed in musical notation. The interval, for example, which divides the wild revels of Cybele from the stately ritual of the Catholic Church is measured by the gulf which severs the dissonant clash of cymbals and tambourines from the grave harmonies of Palestrina and Handel. A different spirit breathes in the difference of the music.

x.x.xII. The Ritual of Adonis

AT THE FESTIVALS of Adonis, which were held in Western Asia and in Greek lands, the death of the G.o.d was annually mourned, with a bitter wailing, chiefly by women; images of him, dressed to resemble corpses, were carried out as to burial and then thrown into the sea or into springs; and in some places his revival was celebrated on the following day. But at different places the ceremonies varied somewhat in the manner and apparently also in the season of their celebration. At Alexandria images of Aphrodite and Adonis were displayed on two couches; beside them were set ripe fruits of all kinds, cakes, plants growing in flower-pots, and green bowers twined with anise. The marriage of the lovers was celebrated one day, and on the morrow women attired as mourners, with streaming hair and bared b.r.e.a.s.t.s, bore the image of the dead Adonis to the sea-sh.o.r.e and committed it to the waves. Yet they sorrowed not without hope, for they sang that the lost one would come back again. The date at which this Alexandrian ceremony was observed is not expressly stated; but from the mention of the ripe fruits it has been inferred that it took place in late summer. In the great Phoenician sanctuary of Astarte at Byblus the death of Adonis was annually mourned, to the shrill wailing notes of the flute, with weeping, lamentation, and beating of the breast; but next day he was believed to come to life again and ascend up to heaven in the presence of his worshippers. The disconsolate believers, left behind on earth, shaved their heads as the Egyptians did on the death of the divine bull Apis; women who could not bring themselves to sacrifice their beautiful tresses had to give themselves up to strangers on a certain day of the festival, and to dedicate to Astarte the wages of their shame.

This Phoenician festival appears to have been a vernal one, for its date was determined by the discoloration of the river Adonis, and this has been observed by modern travellers to occur in spring. At that season the red earth washed down from the mountains by the rain tinges the water of the river, and even the sea, for a great way with a blood-red hue, and the crimson stain was believed to be the blood of Adonis, annually wounded to death by the boar on Mount Lebanon. Again, the scarlet anemone is said to have sprung from the blood of Adonis, or to have been stained by it; and as the anemone blooms in Syria about Easter, this may be thought to show that the festival of Adonis, or at least one of his festivals, was held in spring. The name of the flower is probably derived from Naaman ("darling"), which seems to have been an epithet of Adonis. The Arabs still call the anemone "wounds of the Naaman." The red rose also was said to owe its hue to the same sad occasion; for Aphrodite, hastening to her wounded lover, trod on a bush of white roses; the cruel thorns tore her tender flesh, and her sacred blood dyed the white roses for ever red. It would be idle, perhaps, to lay much weight on evidence drawn from the calendar of flowers, and in particular to press an argument so fragile as the bloom of the rose. Yet so far as it counts at all, the tale which links the damask rose with the death of Adonis points to a summer rather than to a spring celebration of his pa.s.sion. In Attica, certainly, the festival fell at the height of summer. For the fleet which Athens fitted out against Syracuse, and by the destruction of which her power was permanently crippled, sailed at midsummer, and by an ominous coincidence the sombre rites of Adonis were being celebrated at the very time. As the troops marched down to the harbour to embark, the streets through which they pa.s.sed were lined with coffins and corpse-like effigies, and the air was rent with the noise of women wailing for the dead Adonis. The circ.u.mstance cast a gloom over the sailing of the most splendid armament that Athens ever sent to sea. Many ages afterwards, when the Emperor Julian made his first entry into Antioch, he found in like manner the gay, the luxurious capital of the East plunged in mimic grief for the annual death of Adonis; and if he had any presentiment of coming evil, the voices of lamentation which struck upon his ear must have seemed to sound his knell.

The resemblance of these ceremonies to the Indian and European ceremonies which I have described elsewhere is obvious. In particular, apart from the somewhat doubtful date of its celebration, the Alexandrian ceremony is almost identical with the Indian. In both of them the marriage of two divine beings, whose affinity with vegetation seems indicated by the fresh plants with which they are surrounded, is celebrated in effigy, and the effigies are afterwards mourned over and thrown into the water. From the similarity of these customs to each other and to the spring and midsummer customs of modern Europe we should naturally expect that they all admit of a common explanation. Hence, if the explanation which I have adopted of the latter is correct, the ceremony of the death and resurrection of Adonis must also have been a dramatic representation of the decay and revival of plant life. The inference thus based on the resemblance of the customs is confirmed by the following features in the legend and ritual of Adonis. His affinity with vegetation comes out at once in the common story of his birth. He was said to have been born from a myrrh-tree, the bark of which bursting, after a ten months' gestation, allowed the lovely infant to come forth. According to some, a boar rent the bark with his tusk and so opened a pa.s.sage for the babe. A faint rationalistic colour was given to the legend by saying that his mother was a woman named Myrrh, who had been turned into a myrrh-tree soon after she had conceived the child. The use of myrrh as incense at the festival of Adonis may have given rise to the fable. We have seen that incense was burnt at the corresponding Babylonian rites, just as it was burnt by the idolatrous Hebrews in honour of the Queen of Heaven, who was no other than Astarte. Again, the story that Adonis spent half, or according to others a third, of the year in the lower world and the rest of it in the upper world, is explained most simply and naturally by supposing that he represented vegetation, especially the corn, which lies buried in the earth half the year and reappears above ground the other half. Certainly of the annual phenomena of nature there is none which suggests so obviously the idea of death and resurrection as the disappearance and reappearance of vegetation in autumn and spring. Adonis has been taken for the sun; but there is nothing in the sun's annual course within the temperate and tropical zones to suggest that he is dead for half or a third of the year and alive for the other half or two-thirds. He might, indeed, be conceived as weakened in winter, but dead he could not be thought to be; his daily reappearance contradicts the supposition. Within the Arctic Circle, where the sun annually disappears for a continuous period which varies from twenty-four hours to six months according to the lat.i.tude, his yearly death and resurrection would certainly be an obvious idea; but no one except the unfortunate astronomer Bailly has maintained that the Adonis worship came from the Arctic regions. On the other hand, the annual death and revival of vegetation is a conception which readily presents itself to men in every stage of savagery and civilisation; and the vastness of the scale on which this ever-recurring decay and regeneration takes place, together with man's intimate dependence on it for subsistence, combine to render it the most impressive annual occurrence in nature, at least within the temperate zones. It is no wonder that a phenomenon so important, so striking, and so universal should, by suggesting similar ideas, have given rise to similar rites in many lands. We may, therefore, accept as probable an explanation of the Adonis worship which accords so well with the facts of nature and with the a.n.a.logy of similar rites in other lands. Moreover, the explanation is countenanced by a considerable body of opinion amongst the ancients themselves, who again and again interpreted the dying and reviving G.o.d as the reaped and sprouting grain.

The character of Tammuz or Adonis as a corn-spirit comes out plainly in an account of his festival given by an Arabic writer of the tenth century. In describing the rites and sacrifices observed at the different seasons of the year by the heathen Syrians of Harran, he says: "Tammuz (July). In the middle of this month is the festival of el-Bugat, that is, of the weeping women, and this is the Ta-uz festival, which is celebrated in honour of the G.o.d Ta-uz. The women bewail him, because his lord slew him so cruelly, ground his bones in a mill, and then scattered them to the wind. The women (during this festival) eat nothing which has been ground in a mill, but limit their diet to steeped wheat, sweet vetches, dates, raisins, and the like." Ta-uz, who is no other than Tammuz, is here like Burns's John Barleycorn:

"They wasted o'er a scorching flame The marrow of his bones; But a miller us'd him worst of all- For he crush'd him between two stones."

This concentration, so to say, of the nature of Adonis upon the cereal crops is characteristic of the stage of culture reached by his worshippers in historical times. They had left the nomadic life of the wandering hunter and herdsman far behind them; for ages they had been settled on the land, and had depended for their subsistence mainly on the products of tillage. The berries and roots of the wilderness, the gra.s.s of the pastures, which had been matters of vital importance to their ruder forefathers, were now of little moment to them: more and more their thoughts and energies were engrossed by the staple of their life, the corn; more and more accordingly the propitiation of the deities of fertility in general and of the corn-spirit in particular tended to become the central feature of their religion. The aim they set before themselves in celebrating the rites was thoroughly practical. It was no vague poetical sentiment which prompted them to hail with joy the rebirth of vegetation and to mourn its decline. Hunger, felt or feared, was the mainspring of the worship of Adonis.

It has been suggested by Father Lagrange that the mourning for Adonis was essentially a harvest rite designed to propitiate the cornG.o.d, who was then either perishing under the sickles of the reapers, or being trodden to death under the hoofs of the oxen on the threshing-floor. While the men slew him, the women wept crocodile tears at home to appease his natural indignation by a show of grief for his death. The theory fits in well with the dates of the festivals, which fell in spring or summer; for spring and summer, not autumn, are the seasons of the barley and wheat harvests in the lands which worshipped Adonis. Further, the hypothesis is confirmed by the practice of the Egyptian reapers, who lamented, calling upon Isis, when they cut the first corn; and it is recommended by the a.n.a.logous customs of many hunting tribes, who testify great respect for the animals which they kill and eat.

Thus interpreted the death of Adonis is not the natural decay of vegetation in general under the summer heat or the winter cold; it is the violent destruction of the corn by man, who cuts it down on the field, stamps it to pieces on the threshing-floor, and grinds it to powder in the mill. That this was indeed the princ.i.p.al aspect in which Adonis presented himself in later times to the agricultural peoples of the Levant, may be admitted; but whether from the beginning he had been the corn and nothing but the corn, may be doubted. At an earlier period he may have been to the herdsman, above all, the tender herbage which sprouts after rain, offering rich pasture to the lean and hungry cattle. Earlier still he may have embodied the spirit of the nuts and berries which the autumn woods yield to the savage hunter and his squaw. And just as the husband-man must propitiate the spirit of the corn which he consumes, so the herdsman must appease the spirit of the gra.s.s and leaves which his cattle munch, and the hunter must soothe the spirit of the roots which he digs, and of the fruits which he gathers from the bough. In all cases the propitiation of the injured and angry, sprite would naturally comprise elaborate excuses and apologies, accompanied by loud lamentations at his decease whenever, through some deplorable accident or necessity, he happened to be murdered as well as robbed. Only we must bear in mind that the savage hunter and herdsman of those early days had probably not yet attained to the abstract idea of vegetation in general; and that accordingly, so far as Adonis existed for them at all, he must have been the Adon or lord of each individual tree and plant rather than a personification of vegetable life as a whole. Thus there would be as many Adonises as there were trees and shrubs, and each of them might expect to receive satisfaction for any damage done to his person or property. And year by year, when the trees were deciduous, every Adonis would seem to bleed to death with the red leaves of autumn and to come to life again with the fresh green of spring.

There is some reason to think that in early times Adonis was sometimes personated by a living man who died a violent death in the character of the G.o.d. Further, there is evidence which goes to show that among the agricultural peoples of the Eastern Mediterranean, the corn-spirit, by whatever name he was known, was often represented, year by year, by human victims slain on the harvest-field. If that was so, it seems likely that the propitiation of the corn-spirit would tend to fuse to some extent with the worship of the dead. For the spirits of these victims might be thought to return to life in the ears which they had fattened with their blood, and to die a second death at the reaping of the corn. Now the ghosts of those who have perished by violence are surly and apt to wreak their vengeance on their slayers whenever an opportunity offers. Hence the attempt to appease the souls of the slaughtered victims would naturally blend, at least in the popular conception, with the attempt to pacify the slain corn-spirit. And as the dead came back in the sprouting corn, so they might be thought to return in the spring flowers, waked from their long sleep by the soft vernal airs. They had been laid to their rest under the sod. What more natural than to imagine that the violets and the hyacinths, the roses and the anemones, sprang from their dust, were empurpled or incarnadined by their blood, and contained some portion of their spirit?

"I sometimes think that never blows so red The Rose as where some buried Caesar bled; That every Hyacinth the Garden wears Dropt in her Lap from some once lovely Head.

"And this reviving Herb whose tender Green Fledges the River-Lip on which we lean- Ah, lean upon it lightly, for who knows From what once lovely Lip it springs unseen?"

In the summer after the battle of Landen, the most sanguinary battle of the seventeenth century in Europe, the earth, saturated with the blood of twenty thousand slain, broke forth into millions of poppies, and the traveller who pa.s.sed that vast sheet of scarlet might well fancy that the earth had indeed given up her dead. At Athens the great Commemoration of the Dead fell in spring about the middle of March, when the early flowers are in bloom. Then the dead were believed to rise from their graves and go about the streets, vainly endeavouring to enter the temples and dwellings, which were barred against these perturbed spirits with ropes, buckthorn, and pitch. The name of the festival, according to the most obvious and natural interpretation, means the Festival of Flowers, and the t.i.tle would fit well with the substance of the ceremonies if at that season the poor ghosts were indeed thought to creep from the narrow house with the opening flowers. There may therefore be a measure of truth in the theory of Renan, who saw in the Adonis worship a dreamy voluptuous cult of death, conceived not as the King of Terrors, but as an insidious enchanter who lures his victims to himself and lulls them into an eternal sleep. The infinite charm of nature in the Lebanon, he thought, lends itself to religious emotions of this sensuous, visionary sort, hovering vaguely between pain and pleasure, between slumber and tears. It would doubtless be a mistake to attribute to Syrian peasants the worship of a conception so purely abstract as that of death in general. Yet it may be true that in their simple minds the thought of the reviving spirit of vegetation was blent with the very concrete notion of the ghosts of the dead, who come to life again in spring days with the early flowers, with the tender green of the corn and the many-tinted blossoms of the trees. Thus their views of the death and resurrection of nature would be coloured by their views of the death and resurrection of man, by their personal sorrows and hopes and fears. In like manner we cannot doubt that Renan's theory of Adonis was itself deeply tinged by pa.s.sionate memories, memories of the slumber akin to death which sealed his own eyes on the slopes of the Lebanon, memories of the sister who sleeps in the land of Adonis never again to wake with the anemones and the roses.

x.x.xIII. The Gardens of Adonis

PERHAPS the best proof that Adonis was a deity of vegetation, and especially of the corn, is furnished by the gardens of Adonis, as they were called. These were baskets or pots filled with earth, in which wheat, barley, lettuces, fennel, and various kinds of flowers were sown and tended for eight days, chiefly or exclusively by women. Fostered by the sun's heat, the plants shot up rapidly, but having no root they withered as rapidly away, and at the end of eight days were carried out with the images of the dead Adonis, and flung with them into the sea or into springs.

These gardens of Adonis are most naturally interpreted as representatives of Adonis or manifestations of his power; they represented him, true to his original nature, in vegetable form, while the images of him, with which they were carried out and cast into the water, portrayed him in his later human shape. All these Adonis ceremonies, if I am right, were originally intended as charms to promote the growth or revival of vegetation; and the principle by which they were supposed to produce this effect was h.o.m.oeopathic or imitative magic. For ignorant people suppose that by mimicking the effect which they desire to produce they actually help to produce it; thus by sprinkling water they make rain, by lighting a fire they make sunshine, and so on. Similarly, by mimicking the growth of crops they hope to ensure a good harvest. The rapid growth of the wheat and barley in the gardens of Adonis was intended to make the corn shoot up; and the throwing of the gardens and of the images into the water was a charm to secure a due supply of fertilising rain. The same, I take it, was the object of throwing the effigies of Death and the Carnival into water in the corresponding ceremonies of modern Europe. Certainly the custom of drenching with water a leaf-clad person, who undoubtedly personifies vegetation, is still resorted to in Europe for the express purpose of producing rain. Similarly the custom of throwing water on the last corn cut at harvest, or on the person who brings it home (a custom observed in Germany and France, and till lately in England and Scotland), is in some places practised with the avowed intent to procure rain for the next year's crops. Thus in Wallachia and amongst the Roumanians in Transylvania, when a girl is bringing home a crown made of the last ears of corn cut at harvest, all who meet her hasten to throw water on her, and two farm-servants are placed at the door for the purpose; for they believe that if this were not done, the crops next year would perish from drought. At the spring ploughing in Prussia, when the ploughmen and sowers returned in the evening from their work in the fields, the farmer's wife and the servants used to splash water over them. The ploughmen and sowers retorted by seizing every one, throwing them into the pond, and ducking them under the water. The farmer's wife might claim exemption on payment of a forfeit, but every one else had to be ducked. By observing this custom they hoped to ensure a due supply of rain for the seed.

The opinion that the gardens of Adonis are essentially charms to promote the growth of vegetation, especially of the crops, and that they belong to the same cla.s.s of customs as those spring and mid-summer folk-customs of modern Europe which I have described else-where, does not rest for its evidence merely on the intrinsic probability of the case. Fortunately we are able to show that gardens of Adonis (if we may use the expression in a general sense) are still planted, first, by a primitive race at their sowing season, and, second, by European peasants at midsummer. Amongst the Oraons and Mundas of Bengal, when the time comes for planting out the rice which has been grown in seed-beds, a party of young people of both s.e.xes go to the forest and cut a young Karma-tree, or the branch of one. Bearing it in triumph they return dancing, singing, and beating drums, and plant it in the middle of the village dancing-ground. A sacrifice is offered to the tree; and next morning the youth of both s.e.xes, linked arm-in-arm, dance in a great circle round the Karma-tree, which is decked with strips of coloured cloth and sham bracelets and necklets of plaited straw. As a preparation for the festival, the daughters of the headman of the village cultivate blades of barley in a peculiar way. The seed is sown in moist, sandy soil, mixed with turmeric, and the blades sprout and unfold of a pale-yellow or primrose colour. On the day of the festival the girls take up these blades and carry them in baskets to the dancing-ground, where, prostrating themselves reverentially, they place some of the plants before the Karma-tree. Finally, the Karma-tree is taken away and thrown into a stream or tank. The meaning of planting these barley blades and then presenting them to the Karma-tree is hardly open to question. Trees are supposed to exercise a quickening influence upon the growth of crops, and amongst the very people in question-the Mundas or Mundaris- "the grove deities are held responsible for the crops." Therefore, when at the season for planting out the rice the Mundas bring in a tree and treat it with so much respect, their object can only be to foster thereby the growth of the rice which is about to be planted out; and the custom of causing barley blades to sprout rapidly and then presenting them to the tree must be intended to subserve the same purpose, perhaps by reminding the tree-spirit of his duty towards the crops, and stimulating his activity by this visible example of rapid vegetable growth. The throwing of the Karma-tree into the water is to be interpreted as a rain-charm. Whether the barley blades are also thrown into the water is not said; but if my interpretation of the custom is right, probably they are so. A distinction between this Bengal custom and the Greek rites of Adonis is that in the former the tree-spirit appears in his original form as a tree; whereas in the Adonis worship he appears in human form, represented as a dead man, though his vegetable nature is indicated by the gardens of Adonis, which are, so to say, a secondary manifestation of his original power as a tree-spirit.

Gardens of Adonis are cultivated also by the Hindoos, with the intention apparently of ensuring the fertility both of the earth and of mankind. Thus at Oodeypoor in Rajputana a festival is held in honour of Gouri, or Isani, the G.o.ddess of abundance. The rites begin when the sun enters the sign of the Ram, the opening of the Hindoo year. An image of the G.o.ddess Gouri is made of earth, and a smaller one of her husband Iswara, and the two are placed together. A small trench is next dug, barley is sown in it, and the ground watered and heated artificially till the grain sprouts, when the women dance round it hand in hand, invoking the blessing of Gouri on their husbands. After that the young corn is taken up and distributed by the women to the men, who wear it in their turbans. In these rites the distribution of the barley shoots to the men, and the invocation of a blessing on their husbands by the wives, point clearly to the desire of offspring as one motive for observing the custom. The same motive probably explains the use of gardens of Adonis at the marriage of Brahmans in the Madras Presidency. Seeds of five or nine sorts are mixed and sown in earthen pots, which are made specially for the purpose and are filled with earth. Bride and bridegroom water the seeds both morning and evening for four days; and on the fifth day the seedlings are thrown, like the real gardens of Adonis, into a tank or river.

In Sardinia the gardens of Adonis are still planted in connexion with the great midsummer festival which bears the name of St. John. At the end of March or on the first of April a young man of the village presents himself to a girl, and asks her to be his comare (gossip or sweetheart), offering to be her compare. The invitation is considered as an honour by the girl's family, and is gladly accepted. At the end of May the girl makes a pot of the bark of the cork-tree, fills it with earth, and sows a handful of wheat and barley in it. The pot being placed in the sun and often watered, the corn sprouts rapidly and has a good head by Midsummer Eve (St. John's Eve, the twenty-third of June). The pot is then called Erme or Nenneri. On St. John's Day the young man and the girl, dressed in their best, accompanied by a long retinue and preceded by children gambolling and frolicking, move in procession to a church outside the village. Here they break the pot by throwing it against the door of the church. Then they sit down in a ring on the gra.s.s and eat eggs and herbs to the music of flutes. Wine is mixed in a cup and pa.s.sed round, each one drinking as it pa.s.ses. Then they join hands and sing "Sweethearts of St. John" (Compare e comare di San Giovanni) over and over again, the flutes playing the while. When they tire of singing they stand up and dance gaily in a ring till evening. This is the general Sardinian custom. As practised at Ozieri it has some special features. In May the pots are made of cork-bark and planted with corn, as already described. Then on the Eve of St. John the window-sills are draped with rich cloths, on which the pots are placed, adorned with crimson and blue silk and ribbons of various colours. On each of the pots they used formerly to place a statuette or cloth doll dressed as a woman, or a Priapus-like figure made of paste; but this custom, rigorously forbidden by the Church, has fallen into disuse. The village swains go about in a troop to look at the pots and their decorations and to wait for the girls, who a.s.semble on the public square to celebrate the festival. Here a great bonfire is kindled, round which they dance and make merry. Those who wish to be "Sweethearts of St. John" act as follows. The young man stands on one side of the bonfire and the girl on the other, and they, in a manner, join hands by each grasping one end of a long stick, which they pa.s.s three times backwards and forwards across the fire, thus thrusting their hands thrice rapidly into the flames. This seals their relationship to each other. Dancing and music go on till late at night. The correspondence of these Sardinian pots of grain to the gardens of Adonis seems complete, and the images formerly placed in them answer to the images of Adonis which accompanied his gardens.

Customs of the same sort are observed at the same season in Sicily. Pairs of boys and girls become gossips of St. John on St. John's Day by drawing each a hair from his or her head and performing various ceremonies over them. Thus they tie the hairs together and throw them up in the air, or exchange them over a potsherd, which they afterwards break in two, preserving each a fragment with pious care. The tie formed in the latter way is supposed to last for life. In some parts of Sicily the gossips of St. John present each other with plates of sprouting corn, lentils, and canary seed, which have been planted forty days before the festival. The one who receives the plate pulls a stalk of the young plants, binds it with a ribbon, and preserves it among his or her greatest treasures, restoring the platter to the giver. At Catania the gossips exchange pots of basil and great cuc.u.mbers; the girls tend the basil, and the thicker it grows the more it is prized.

In these midsummer customs of Sardinia and Sicily it is possible that, as Mr. R. Wunsch supposes, St. John has replaced Adonis. We have seen that the rites of Tammuz or Adonis were commonly celebrated about midsummer; according to Jerome, their date was June.

In Sicily gardens of Adonis are still sown in spring as well as in summer, from which we may perhaps infer that Sicily as well as Syria celebrated of old a vernal festival of the dead and risen G.o.d. At the approach of Easter, Sicilian women sow wheat, lentils, and canaryseed in plates, which they keep in the dark and water every two days. The plants soon shoot up; the stalks are tied together with red ribbons, and the plates containing them are placed on the sepulchres which, with the effigies of the dead Christ, are made up in Catholic and Greek churches on Good Friday, just as the gardens of Adonis were placed on the grave of the dead Adonis. The practice is not confined to Sicily, for it is observed also at Cosenza in Calabria, and perhaps in other places. The whole custom-sepulchres as well as plates of sprouting grain-may be nothing but a continuation, under a different name, of the worship of Adonis.

Nor are these Sicilian and Calabrian customs the only Easter ceremonies which resemble the rites of Adonis. "During the whole of Good Friday a waxen effigy of the dead Christ is exposed to view in the middle of the Greek churches and is covered with fervent kisses by the thronging crowd, while the whole church rings with melancholy, monotonous dirges. Late in the evening, when it has grown quite dark, this waxen image is carried by the priests into the street on a bier adorned with lemons, roses, jessamine, and other flowers, and there begins a grand procession of the mult.i.tude, who move in serried ranks, with slow and solemn step, through the whole town. Every man carries his taper and breaks out into doleful lamentation. At all the houses which the procession pa.s.ses there are seated women with censers to fumigate the marching host. Thus the community solemnly buries its Christ as if he had just died. At last the waxen image is again deposited in the church, and the same lugubrious chants echo anew. These lamentations, accompanied by a strict fast, continue till midnight on Sat.u.r.day. As the clock strikes twelve, the bishop appears and announces the glad tidings that 'Christ is risen,' to which the crowd replies, 'He is risen indeed,' and at once the whole city bursts into an uproar of joy, which finds vent in shrieks and shouts, in the endless discharge of carronades and muskets, and the explosion of fire-works of every sort. In the very same hour people plunge from the extremity of the fast into the enjoyment of the Easter lamb and neat wine."

In like manner the Catholic Church has been accustomed to bring before its followers in a visible form the death and resurrection of the Redeemer. Such sacred dramas are well fitted to impress the lively imagination and to stir the warm feelings of a susceptible southern race, to whom the pomp and pageantry of Catholicism are more congenial than to the colder temperament of the Teutonic peoples.

When we reflect how often the Church has skilfully contrived to plant the seeds of the new faith on the old stock of paganism, we may surmise that the Easter celebration of the dead and risen Christ was grafted upon a similar celebration of the dead and risen Adonis, which, as we have seen reason to believe, was celebrated in Syria at the same season. The type, created by Greek artists, of the sorrowful G.o.ddess with her dying lover in her arms, resembles and may have been the model of the Pieta of Christian art, the Virgin with the dead body of her divine Son in her lap, of which the most celebrated example is the one by Michael Angelo in St. Peters. That n.o.ble group, in which the living sorrow of the mother contrasts so wonderfully with the languor of death in the son, is one of the finest compositions in marble. Ancient Greek art has bequeathed to us few works so beautiful, and none so pathetic.

In this connexion a well-known statement of Jerome may not be without significance. He tells us that Bethlehem, the traditionary birthplace of the Lord, was shaded by a grove of that still older Syrian Lord, Adonis, and that where the infant Jesus had wept, the lover of Venus was bewailed. Though he does not expressly say so, Jerome seems to have thought that the grove of Adonis had been planted by the heathen after the birth of Christ for the purpose of defiling the sacred spot. In this he may have been mistaken. If Adonis was indeed, as I have argued, the spirit of the corn, a more suitable name for his dwelling-place could hardly be found than Bethlehem, "the House of Bread," and he may well have been worshipped there at his House of Bread long ages before the birth of Him who said, "I am the bread of life." Even on the hypothesis that Adonis followed rather than preceded Christ at Bethlehem, the choice of his sad figure to divert the allegiance of Christians from their Lord cannot but strike us as eminently appropriate when we remember the similarity of the rites which commemorated the death and resurrection of the two. One of the earliest seats of the worship of the new G.o.d was Antioch, and at Antioch, as we have seen, the death of the old G.o.d was annually celebrated with great solemnity. A circ.u.mstance which attended the entrance of Julian into the city at the time of the Adonis festival may perhaps throw some light on the date of its celebration. When the emperor drew near to the city he was received with public prayers as if he had been a G.o.d, and he marvelled at the voices of a great mult.i.tude who cried that the Star of Salvation had dawned upon them in the East. This may doubtless have been no more than a fulsome compliment paid by an obsequious Oriental crowd to the Roman emperor. But it is also possible that the rising of a bright star regularly gave the signal for the festival, and that as chance would have it the star emerged above the rim of the eastern horizon at the very moment of the emperor's approach. The coincidence, if it happened, could hardly fail to strike the imagination of a superst.i.tious and excited mult.i.tude, who might thereupon hail the great man as the deity whose coming was announced by the sign in the heavens. Or the emperor may have mistaken for a greeting to himself the shouts which were addressed to the star. Now Astarte, the divine mistress of Adonis, was identified with the planet Venus, and her changes from a morning to an evening star were carefully noted by the Babylonian astronomers, who drew omens from her alternate appearance and disappearance. Hence we may conjecture that the festival of Adonis was regularly timed to coincide with the appearance of Venus as the Morning or Evening Star. But the star which the people of Antioch saluted at the festival was seen in the East; therefore, if it was indeed Venus, it can only have been the Morning Star. At Aphaca in Syria, where there was a famous temple of Astarte, the signal for the celebration of the rites was apparently given by the flashing of a meteor, which on a certain day fell like a star from the top of Mount Lebanon into the river Adonis. The meteor was thought to be Astarte herself, and its flight through the air might naturally be interpreted as the descent of the amorous G.o.ddess to the arms of her lover. At Antioch and elsewhere the appearance of the Morning Star on the day of the festival may in like manner have been hailed as the coming of the G.o.ddess of love to wake her dead leman from his earthy bed. If that were so, we may surmise that it was the Morning Star which guided the wise men of the East to Bethlehem, the hallowed spot which heard, in the language of Jerome, the weeping of the infant Christ and the lament for Adonis.

x.x.xIV. The Myth and Ritual of Attis

ANOTHER of those G.o.ds whose supposed death and resurrection struck such deep roots into the faith and ritual of Western Asia is Attis. He was to Phrygia what Adonis was to Syria. Like Adonis, he appears to have been a G.o.d of vegetation, and his death and resurrection were annually mourned and rejoiced over at a festival in spring. The legends and rites of the two G.o.ds were so much alike that the ancients themselves sometimes identified them. Attis was said to have been a fair y