Chapter III: The Birth of Aphrodite.235 (3)

Mr. F. Ll. Griffith tells me that the Egyptian hieroglyphic for the verb "coire cum" gives frank expression to the real meaning of the symbolism of the pot as the matrix which receives the seed. The same idea provides the material for the incident of the birth of Drona (the pot-born) in the Adi Parva (Sections CXXXI, CXXXIX, and CLXVIII, in Roy's translation) of the Mahabharata, to which Mr. Donald A. Mackenzie has kindly called my attention. Drona was conceived in a pot from the seed of a Rishi. A widespread variant of the same story is the conception of a child from a drop of blood in a pot (see, for example, Hartland, "Legend of Perseus," Vol. I, pp. 98 and 144). If the pot can thus create a human being, it is easy to understand how it acquired its reputation of being also able to multiply food and provide an inexhaustible supply. Similarly, all substances, such as barley, rice, gold, pearls, and jade, to which the possession of a special vital essence or "soul substance" was attributed, were believed to be able to reproduce themselves and so increase in quantity of their own activities. As "givers of life" they were also able to add to their own life-substance, in other words to grow like any other living being.]

[338: "An American Dragon," _Man_, November, 1918.]

Artemis and the Guardian of the Portal.

Sir Gardner Wilkinson states (see text-figure, p. 179, _b_) that "a basket of sycamore figs" was originally the hieroglyphic sign for a woman, a goddess, or a mother. Later on (p. 199) I shall refer to the possible bearing of this Egyptian idea upon the origin of the Hebrew word for mandrakes and the allusion to "a basket of figs" in the Book of Jeremiah.

The life-giving powers attributed to "love-apples" and the association of these ideas with the fig-tree may have facilitated the transference of these attributes of "apples" to those actually growing upon a tree.

We know that Aphrodite was intimately associated, not only with "love-apples," but also with real apples. The sun-god Apollo's connexion with the apple-tree, which Dr. Rendel Harris, with great daring, wants to convert into an identity of name, was probably only one of the results of that long series of confusions between the Great Mother (Hathor) and the Sun-god (Horus), to which I have referred in my discussion of the dragon-story.

But when Apollo's form emerges more clearly he is associated not with Aphrodite but with Artemis, whom Dr. Rendel Harris has shown to be identified with the mugwort, _Artemisia_. The association of the goddess with this plant is probably related to the identification of Sekhet with the marsh-plants of the Egyptian Delta and of Hathor and Isis with the lotus and other water plants. Any doubt as to the reality of these associations and Egyptian connexions is banished by the evidence of Artemis's male counterpart Apollo Hyakinthos and his relations to the sacred lily and other water plants.[339] Artemis was a gynæcological specialist: for she assisted women not only in childbirth and the expulsion of the placenta, but also in cases of amenorrhoea and affections of the uterus. She was regarded as the goddess of the portal, not merely of birth,[340] but also of gold and treasure, of which she possessed the key, and of the year (January).

This brings us back to the guardianship of gold and treasures which plays so vital a part in the evolution of the Mediterranean goddesses. For, like the story of the dog and the mandrake, it emphasizes the conchological ancestry of these deities and their connexion with the guardians of the subterranean palaces where pearls are found. But Artemis was not only the opener of the treasure-houses, but she also possessed the secret of the philosopher's stone: she could transmute base substances into gold,[341] for was she not the offspring of the Golden Hathor? To open the portal either of birth or wealth she used her magic wand or key. As _Nub_, the lady of gold, the Great Mother could not only change other substances into gold, but she was also the guardian of the treasure house of gold, pearls, and precious stones. Hence she could grant riches. Elsewhere in this chapter (p. 221) I shall explain how the goddess came to be identified with gold.

Just as Hathor, the Eye of Re, descended to provide the elixir of youth for the king who was the sun-god, so Artemis is described as travelling through the air in a car drawn by two serpents[342] seeking the most pious of kings in order that she might establish her cult with him and bless him with renewed youth.[343]

Artemis was a moon-goddess closely related to Britomartis and Diktynna, the Cretan prototype of Aphrodite. These goddesses afforded help to women in childbirth and were regarded as guardians of the portal. The goddess of streams and marshes was identified with the mugwort (_Artemisia_), which was hung above the door in the place occupied at other times by the winged disk, the thunder-stone, or a crocodile (dragon). As the guardian of portals Artemis's magic plant could open locks and doors. As the giver of life she could also withhold the vital essence and so cause disease or death; but she possessed the means of curing the ills she inflicted. Artemis, in fact, like all the other goddesses, was a witch.

In former lectures[344] I have often discussed the remarkable feature of Egyptian architecture, which is displayed in the tendency to exaggerate the door-posts and lintels, until in the New Empire the great temples become transformed into little more than monstrously overgrown doorways or pylons. I need not emphasize again the profound influence exerted by this line of development upon the Dravidian temples of India and the symbolic gateways of China and Japan.

(a) Winged Disk from the Temple of Thothmes I.

(b) Persian design of Winged Disk above the Tree of Life (Ward, "Seal Cylinders of Western Asia," Fig. 1109).

(c) Assyrian or Syro-Hittite design of the Winged Disk and Tree of Life in an extremely conventionalized form (Ward, Fig. 1310).

(d) Assyrian conventionalized Winged Disk and Tree of Life, from the design upon the dress of Assurnazipal (Ward, Fig. 670).

(e) Part of the design from a tablet of the time of Dungi (Ward, Fig. 663). The Tree of Life (or the Great Mother) between the two mountains: alongside the tree is the heraldic eagle.

(f) Design on a Cretan sarcophagus from Hagia Triada (Blinkenberg, Fig. 9). The Tree of Life has now become the handle of the Double Axe, into which the Winged Disk has been transformed. But the bird which was the prototype of the Winged Disk has been added.

(g) Double axe from a gold signet from Acropolis Treasure, Mycenæ (after Sir Arthur Evans, "Mycenæan Tree and Pillar Cult," p. 10).

(h) Assyrian Winged Disk (Ward, Fig. 608) showing reduplication of the wing-pattern, possibly suggesting the doubling of each axe-blade in _g_.

(i) "Primitive Chaldean Winged Gate" (Ward, Fig. 349). The Gate as the Goddess of the Portal.

(k) Persian Winged Disk (Ward, Fig. 1144) above a fire-altar in the form suggestive of the mountains of dawn (compare Fig. 26, _c_).

(l) An Assyrian Tree of Life and Winged Disk crudely conventionalized (Ward, Fig. 695).

(m) Assyrian Tree of Life and "Winged Disk" in which the god is riding in a crescent replacing the Disk (Ward, Fig. 695).]

This significance of gates was no doubt suggested by the idea that they represented the means of communication between the living and the dead, and, symbolically, the portal by which the dead acquired a rebirth into a new form of existence. It was presumably for this reason that the winged disk as a symbol of life-giving, was placed above the lintels of these doors, not merely in Egypt, Phoenicia, the Mediterranean Area, and Western Asia, but also in America,[345] and in modified forms in India, Indonesia, Melanesia, Cambodia, China, and Japan.

The discussion (Chapter II) of the means by which the winged disk came to acquire the power of life-giving, "the healing in its wings," will have made it clear that the sun became accredited with these virtues only when it assumed the place of the other "Eye of Re," the Great Mother. In fact, it was a not uncommon practice in Egypt to represent the eyes of Re or of Horus himself in place of the more usual winged disk. In the Ægean area the original practice of representing the Great Mother was retained long after it was superseded in Egypt by the use of the winged disk (the sun-god).

Over the lintel of the famous "Lion Gate" at Mycenæ, instead of the winged disk, we find a vertical pillar to represent the Mother Goddess, flanked by two lions which are nothing more than other representatives of herself (Fig. 26).

(a) An Egyptian picture of Hathor between the mountains of the horizon (on which trees are growing) (after Budge, "Gods of the Egyptians," Vol. II, p. 101). [This is a part only of a scene in which the goddess Nut is giving birth to the sun, whose rays illuminate Hathor on the horizon, as Sothis, the "Opener of the Way" for the sun.]

(b) The mountains of the horizon supporting a cow's head as a surrogate of Hathor, from a stele found at Teima in Northern Arabia, now in the Louvre (after Sir Arthur Evans, _op. cit._, p. 39). This indicates the identity of what Evans calls "the horns of consecration" and the "mountains of the horizon," and also suggests how confusion may have arisen between the mountains and the cow's horns.

(c) The Mesopotamian sun-god Shamash rising between the Eastern Mountains, the Gates of Dawn (Ward, _op. cit._, p. 373).

(d) The familiar Egyptian representation of the sun rising between the Eastern Mountains (the splitting of the mountain giving birth to "the ridiculous mouse"--Smintheus). The _ankh_ (life-sign) below the sun is the determinative of the act of giving birth or life. The design is heraldically supported by the Great Mother's lionesses.

(e) Part of the design from a Mycenæan vase from Old Salamis (after Evans, p. 9). The cow's head and the Eastern Mountains are shown alongside one another, each of them supporting the Double Axe representing the god.

(f) Part of the design from a lentoid gem from the Idæan Cave, now in the Candia Museum (after Evans, Fig. 25). If this design be compared with the Egyptian picture (a), it will be seen that Hathor's place is taken by the tree-form of the Great Mother, and the trees which in the former (a) are growing upon the Eastern Mountains are now placed alongside the "horns". In the complete design (_vide_ Evans, _op. cit._, p. 44) a votary is represented blowing a conch-shell trumpet to animate the deity in the sacred tree.

(g) The Eastern Mountains supporting the pillar-form of the goddess (after Evans, Fig. 66).

(h) Another Mycenæan design comparable with (e).

(i) Design from a signet-ring from Mycenæ (after Evans, Fig. 34). If this be compared with the Egyptian picture (a) it will be noted that the Great Mother is now replaced by a tree: the Eastern Mountains by bulls, from whose backs the trees of the Eastern Mountains are sprouting. This design affords interesting corroboration of the suggestion that the Eastern Mountains may be confused with the cow's head (see _b_ and _c_) or with the cow itself. Newberry (_Annals of Archæology and Anthropology_, Liverpool, Vol. I, p. 28) has called attention to the intimate association (in Protodynastic Egypt) of the Eastern Mountains, the Bull and the Double Axe--a certain token of cultural contact with Crete.

(k) The famous sculpture above the Lion Gate at Mycenæ. The pillar form of the Great Mother heraldically supported by her lioness-avatars, which correspond to the cattle of the design (i) and the Eastern Mountains of (a). The use of this design above the lintel of the gate brings it into homology with the Winged Disk. The Pillar represents the Goddess, as the Disk represents her Egyptian _locum tenens_, Horus; her destructive representatives (the lionesses) correspond to the two uræi of the Winged Disk design.]

In his "Mycenæan Tree and Pillar Cult," Sir Arthur Evans has shown that all possible transitional forms can be found (in Crete and the Ægean area) between the representation of the actual goddess and her pillar-and tree-manifestations, until the stage is reached where the sun itself appears above the pillar between the lions.[346] In the large series of seals from Mesopotamia and Western Asia which have been described in Mr. William Hayes Ward's monograph,[347] we find manifold links between both the Egyptian and the Minoan cults.

The tree-form of the Great Mother there becomes transformed into the "tree of life" and the winged disk is perched upon its summit. Thus we have a duplication of the life-giving deities. The "tree of life" of the Great Mother surmounted by the winged disk which is really her surrogate or that of the sun-god, who took over from her the power of life-giving (Figs. 25 and 26).

In an interesting Cretan sarcophagus from Hagia Triada[348] the life-giving power is _tripled_. There is not only the tree representing the Great Mother herself; but also the double axe (the winged-disk homologue of the sun-god); and the more direct representation of him as a bird perched upon the axe (Fig. 25, _f_).

The identification of the Great Mother with the tree or pillar seems also to have led to her confusion with the pestle with which the materials for her draught of immortality was pounded. She was also the bowl or mortar in which the pestle worked.[349]

As the Great Mother became confused with the pestle, so, "the Soma-plant, whose stalks are crushed by the priests to make the Soma-libation, becomes in the _Vedas_ itself the Crusher or Smiter, by a very characteristic and frequent Oriental conceit in accordance with which the agent and the person or thing acted on are identified".[350]

"The pressing-stones by means of which Soma is crushed typify thunderbolts." "In the _Rig-Veda_, we read of him [Soma] as _jyotihrathah_, _i.e._ 'mounted on a car of light' (IX, 5, 86, verse 43); or again: 'Like a hero he holds weapons in his hand ... mounted on a chariot' (IX, 4, 76, verse 2)"--(p. 171).

"Soma was the giver of power, of riches and treasures, flocks and herds, but above all, the giver of immortality" (p. 140).

Sir Arthur Evans is of opinion "that in the case of the Cypriote cylinders the attendant monsters and, to a certain extent, the symbolic column itself, are taken from an Egyptian solar cycle, and the inference has been drawn that the aniconic pillars among the Mycenæans of Cyprus were identified with divinities having some points in common with the sun-gods Ra, or Horus, and Hathor, the Great Mother" (_op. cit._, pp. 63 and 64).

In attempting to find some explanation of how the tree or pillar of the goddess came to be replaced in the Indian legend by Mount Meru, the possibility suggests itself whether the aniconic form of the Great Mother placed between two relatively diminutive hills may not have helped, by confusion, to convert the cone itself into a yet bigger hill, which was identified with Mount Meru, the summit of which in other legends produced the _amrita_ of the gods, either in the form of the soma plant that grew upon its heights, or the rain clouds which collected there. But, as the subsequent argument will make clear, the real reason for the identification of the Great Mother with a mountain was the belief that the sun was born from the splitting of the eastern mountain, which thus assumed the function of the sun-god's mother. Possibly the association of the tops of mountains with cloud- and rain-phenomena and the gods that controlled them played some part in the development of the symbolism of mountains. [When I referred (in