Chapter III: Killing the God (4)

But Osiris was not only a corn-spirit; he was also a tree-spirit, and this was probably his original character; for, as we have already observed, the corn-spirit seems to be only an extension of the older tree-spirit. His character as a tree-spirit was represented very graphically in a ceremony described by Firmicus Maternus.(985) A pine-tree was cut down, the centre was hollowed out, and with the wood thus excavated an image of Osiris was made, which was then “buried” in the hollow of the tree. Here, again, it is hard to imagine how the conception of a tree as tenanted by a personal being could be more plainly expressed. The image of Osiris thus made was kept for a year and then burned, exactly as was done with the image of Attis which was attached to the pine-tree. The ceremony of cutting the tree, as described by Firmicus Maternus, appears to be alluded to by Plutarch.(986) It was probably the ritual counterpart of the mythical discovery of the body of Osiris enclosed in the _erica_ tree. We may conjecture that the erection of the _Tatu_ pillar at the close of the annual festival of Osiris(987) was identical with the ceremony described by Firmicus; it is to be noted that in the myth the _erica_ tree formed a pillar in the King’s house. Like the similar custom of cutting a pine-tree and fastening an image to it in the rites of Attis, the ceremony perhaps belonged to that class of customs of which the bringing in the May-pole is among the most familiar. As to the pine-tree in particular, at Denderah the tree of Osiris is a conifer, and the coffer containing the body of Osiris is here represented as enclosed within the tree.(988) A pine-cone is often represented on the monuments as offered to Osiris, and a MS. of the Louvre speaks of the cedar as sprung from Osiris.(989) The sycamore and the tamarisk are also his trees. In inscriptions he is spoken of as residing in them;(990) and his mother Nut is frequently represented in a sycamore.(991) In a sepulchre at How (Diospolis Parva) a tamarisk is represented overshadowing the coffer of Osiris; and in the series of sculptures which represent the mystic history of Osiris in the great temple of Isis at Philae, a tamarisk is depicted with two men pouring water on it. The inscription on this last monument leaves no doubt, says Brugsch, that the verdure of the earth is believed to be connected with the verdure of the tree, and that the sculpture refers to the grave of Osiris at Philae, of which Plutarch says that it was overshadowed by a _methide_ plant, taller than any olive-tree. This sculpture, it may be observed, occurs in the same chamber in which Osiris is represented as a corpse with ears of corn sprouting from him.(992) In inscriptions Osiris is referred to as “the one in the tree,” “the solitary one in the acacia,” etc.(993) On the monuments he sometimes appears as a mummy covered with a tree or with plants.(994) It accords with the character of Osiris as a tree-spirit that his worshippers were forbidden to injure fruit-trees, and with his character as a god of vegetation in general that they were not allowed to stop up wells of water, which are so important for purposes of irrigation in hot southern lands.(995)

The original meaning of the goddess Isis is still more difficult to determine than that of her brother and husband Osiris. Her attributes and epithets were so numerous that in the hieroglyphics she is called “the many-named,” “the thousand-named,” and in Greek inscriptions “the myriad-named.”(996) Tiele confesses candidly that “it is now impossible to tell precisely to what natural phenomena the character of Isis at first referred.”(997) Mr. Renouf states that Isis was the Dawn,(998) but without assigning any reason whatever for the identification. There are at least some grounds for seeing in her a goddess of corn. According to Diodorus, whose authority appears to have been the Egyptian historian Manetho, the discovery of wheat and barley was attributed to Isis, and at her festivals stalks of these grains were carried in procession to commemorate the boon she had conferred on men. Further, at harvest-time, when the Egyptian reapers had cut the first stalks, they laid them down and beat their breasts, lamenting and calling upon Isis.(999) Amongst the epithets by which she is designated on the inscriptions are “creatress of the green crop,” “the green one, whose greenness is like the greenness of the earth,” and “mistress of bread.”(1000) According to Brugsch she is “not only the creatress of the fresh verdure of vegetation which covers the earth, but is actually the green corn-field itself, which is personified as a goddess.”(1001) This is confirmed by her epithet _Sochit_ or _Sochet_, meaning “a corn-field,” a sense which the word still retains in Coptic.(1002) It is in this character of a corn-goddess that the Greeks conceived Isis, for they identified her with Demeter.(1003) In a Greek epigram she is described as “she who has given birth to the fruits of the earth,” and “the mother of the ears of corn,”(1004) and in a hymn composed in her honour she speaks of herself as “queen of the wheat-field,” and is described as “charged with the care of the fruitful furrow’s wheat-rich path.”(1005)

Osiris has been sometimes interpreted as the sun-god; and this view has been held by so many distinguished writers in modern times that a few words of reply seem called for. If we inquire on what evidence Osiris has been identified with the sun or the sun-god, it will be found on examination that the evidence is minute in quantity and dubious, where it is not absolutely worthless, in quality. The diligent Jablonski, the first modern scholar to collect and examine the testimony of classical writers on Egyptian religion, says that it can be shown in many ways that Osiris is the sun, and that he could produce a cloud of witnesses to prove it, but that it is needless to do so, since no learned man is ignorant of the fact.(1006) Of the writers whom he condescends to quote, the only two who expressly identify Osiris with the sun are Diodorus and Macrobius. The passage in Diodorus runs thus:(1007) “It is said that the aboriginal inhabitants of Egypt, looking up to the sky, and smitten with awe and wonder at the nature of the universe, supposed that there were two gods, eternal and primeval, the sun and the moon, of whom they named the sun Osiris and the moon Isis.” Even if Diodorus’s authority for this statement is Manetho, as there is some ground for believing,(1008) little or no weight can be attached to it. For it is plainly a philosophical, and therefore a late, explanation of the first beginnings of Egyptian religion, reminding us of Kant’s familiar saying about the starry heavens and the moral law rather than of the rude traditions of a primitive people. Jablonski’s second authority, Macrobius, is no better but rather worse. For Macrobius was the father of that large family of mythologists who resolve all or most gods into the sun. According to him Mercury was the sun, Mars was the sun, Janus was the sun, Saturn was the sun, so was Jupiter, also Nemesis, likewise Pan, etc.(1009) It was, therefore, nearly a matter of course that he should identify Osiris with the sun.(1010) But apart from the general principle, so frankly enunciated by Professor Maspero, that all the gods are the sun (“_Comme tous les dieux, Osiris est le soleil_”),(1011) Macrobius has not much cause to show for identifying Osiris in particular with the sun. He argues that Osiris must be the sun because an eye was one of his symbols. The premise is correct,(1012) but what exactly it has to do with the conclusion is not clear. The opinion that Osiris was the sun is also mentioned, but not accepted, by Plutarch,(1013) and it is referred to by Firmicus Maternus.(1014)

Amongst modern Egyptologists, Lepsius, in identifying Osiris with the sun, appears to rely mainly on the passage of Diodorus already quoted. But the monuments, he adds, also show “that down to a late time Osiris was sometimes conceived as _Ra_. In this quality he is named _Osiris-Ra_ even in the ‘Book of the Dead,’ and Isis is often called ‘the royal consort of Ra.’ ”(1015) That Ra was both the physical sun and the sun-god is of course undisputed; but with every deference for the authority of so great a scholar as Lepsius, it may be doubted whether such identification can be taken as evidence of the original character of Osiris. For the religion of ancient Egypt(1016) may be described as a confederacy of local cults which, while maintaining against each other a certain measure of jealous and even hostile independence, were yet constantly subjected to the fusing and amalgamating action of political centralisation and philosophical reflection. The history of the religion appears to have largely consisted of a struggle between these opposite forces or tendencies. On the one side there was the conservative tendency to preserve the local cults with all their distinctive features, fresh, sharp, and crisp, as they had been handed down from an immemorial past. On the other side there was the progressive tendency, favoured by the gradual fusion of the people under a powerful central government, first to dull the edge of these provincial distinctions, and finally to break them down completely and merge them in a single national religion. The conservative party probably mustered in its ranks the great bulk of the people, their prejudices and affections being warmly enlisted in favour of the local deity, with whose temple and rites they had been familiar from childhood; and the popular aversion to change, based on the endearing effect of old association, must have been strongly reinforced by the less disinterested opposition of the local clergy, whose material interests would necessarily suffer with any decay of their shrines. On the other hand the kings, whose power and glory rose with the political and ecclesiastical consolidation of the nation, were the natural champions of religious unity; and their efforts would be seconded by the cultured and reflecting minority, who could hardly fail to be shocked by the many barbarous and revolting elements in the local rites. As usual in such cases, the process of religious unification appears to have been largely effected by discovering points of similarity, real or imaginary, between various local gods, which were thereupon declared to be only different names or manifestations of the same god.

Of the deities who thus acted as centres of attraction, absorbing in themselves a multitude of minor divinities, by far the most important was the sun-god Ra. There appear to have been few gods in Egypt who were not at one time or other identified with him. Ammon of Thebes, Horus of the East, Horus of Edfu, Chnum of Elephantine, Atum of Heliopolis, all were regarded as one god, the sun. Even the water-god Sobk, in spite of his crocodile shape, did not escape the same fate. Indeed one king, Amenhôtep IV, undertook to sweep away all the old gods at a stroke and replace them by a single god, the “great living disc of the sun.”(1017) In the hymns composed in his honour, this deity is referred to as “the living disc of the sun, besides whom there is none other.” He is said to have made “the far heaven” and “men, beasts, and birds; he strengtheneth the eyes with his beams, and when he showeth himself, all flowers live and grow, the meadows flourish at his upgoing and are drunken at his sight, all cattle skip on their feet, and the birds that are in the marsh flutter for joy.” It is he “who bringeth the years, createth the months, maketh the days, calculateth the hours, the lord of time, by whom men reckon.” In his zeal for the unity of god, the king commanded to erase the names of all other gods from the monuments, and to destroy their images. His rage was particularly directed against the god Ammon, whose name and likeness were effaced wherever they were found; even the sanctity of the tomb was violated in order to destroy the memorials of the hated god. In some of the halls of the great temples at Carnac, Luxor, and other places, all the names of the gods, with a few chance exceptions, were scratched out. In no inscription cut in this king’s reign was any god mentioned save the sun. He even changed his own name, Amenhôtep, because it was compounded of Ammon, and took instead the name of Chuen-’eten, “gleam of the sun’s disc.” His death was followed by a violent reaction. The old gods were reinstated in their rank and privileges; their names and images were restored; and new temples were built. But all the shrines and palaces reared by the late king were thrown down; even the sculptures that referred to him and to his god in rock-tombs and on the sides of hills were erased or filled up with stucco; his name appears on no later monument, and was carefully omitted from all official lists.

This attempt of King Amenhôtep IV is only an extreme example of a tendency which appears to have been at work on the religion of Egypt as far back as we can trace it. Therefore, to come back to our point, in attempting to discover the original character of any Egyptian god, no weight can be given to the identification of him with other gods, least of all with the sun-god Ra. Far from helping to follow up the trail, these identifications only cross and confuse it. The best evidence for the original character of the Egyptian gods is to be found in their ritual and myths, so far as these are known (which unfortunately is little enough), and in the figured representations of them on the monuments. It is on evidence drawn from these sources that I rely mainly for the interpretation of Osiris as a deity of vegetation.

Amongst a younger generation of scholars, Tiele is of opinion that Osiris is the sun, because “in the hymns, his accession to the throne of his father is compared to the rising of the sun, and it is even said of him in so many words: ‘He glitters on the horizon, he sends out rays of light from his double feather and inundates the world with it, as the sun from out the highest heaven.’ ”(1018) By the same token Marie Antoinette must have been a goddess of the morning star, because Burke saw her at Versailles “just above the horizon, decorating and cheering the elevated sphere she just began to move in,—glittering like the morning star, full of life, and splendour, and joy.” If such comparisons prove anything, they prove that Osiris was _not_ the sun. There are always two terms to a comparison; a thing cannot be compared to itself. But Tiele also appeals to the monuments. What is his evidence? Osiris is sometimes represented by a figure surmounted by “the so-called Tat pillar, entirely made up of a kind of superimposed capitals, one of which has a rude face scratched upon it.” Tiele is of opinion that this rude face is “intended, no doubt, to represent the shining sun.”(1019) If every “rude face scratched” is to be taken as a symbol of the shining sun, sun-worship will be discovered in some unexpected places. But, on the whole, Tiele, like Jablonski, prudently keeps to the high ground of vague generalities, and the result of his occasional descents to the level of facts is not such as to encourage him to prolong his stay. “Were we to come down to details,” he says, “and to attend to slight variations, we should be lost in an ocean of symbolism and mysticism.”(1020) This is like De Quincey’s attitude towards murder. “General principles I will suggest. But as to any particular case, once for all I will have nothing to do with it.” There is no having a man who takes such lofty ground.

Mr. Le Page Renouf also considers that Osiris is the sun,(1021) and his position is still stronger than Tiele’s. For whereas Tiele produces bad arguments for his view, Mr. Renouf produces none at all, and therefore cannot possibly be confuted.

The ground upon which some recent writers seem chiefly to rely for the identification of Osiris with the sun is that the story of his death fits better with the solar phenomena than with any other in nature. It may readily be admitted that the daily appearance and disappearance of the sun might very naturally be expressed by a myth of his death and resurrection; and writers who regard Osiris as the sun are careful to emphasise the fact that it is the diurnal, and not the annual, course of the sun to which they understand the myth to apply. Mr. Renouf expressly admits that the Egyptian sun cannot with any show of reason be described as dead in winter.(1022) But if his _daily_ death was the theme of the legend, why was it celebrated by an _annual_ ceremony? This fact alone seems fatal to the interpretation of the myth as descriptive of sunset and sunrise. Again, though the sun may be said to die daily, in what sense can he be said to be torn in pieces?(1023)

In the course of our inquiry, it has, I trust, been made clear that there is another natural phenomenon to which the conception of death and resurrection is as applicable as to sunset and sunrise, and which, as a matter of fact has been so conceived and represented in folk-custom. This phenomenon is the annual growth and decay of vegetation. A strong reason for interpreting the death of Osiris as the decay of vegetation rather than as the sunset is to be found in the general (though not unanimous) voice of antiquity, which classed together the worship and myths of Osiris, Adonis, Attis, Dionysus, and Demeter, as religions of essentially the same type.(1024) The consensus of ancient opinion on this subject seems too great to be rejected as a mere fancy. So closely did the rites of Osiris resemble those of Adonis at Byblus that some of the people of Byblus themselves maintained that it was Osiris and not Adonis whose death was mourned by them.(1025) Such a view could certainly not have been held if the rituals of the two gods had not been so alike as to be almost indistinguishable. Again, Herodotus found the similarity between the rites of Osiris and Dionysus so great, that he thought it impossible the latter could have arisen independently; they must, he thought, have been recently borrowed, with slight alterations, by the Greeks from the Egyptians.(1026) Again, Plutarch, a very intelligent student of comparative religion, insists upon the detailed resemblance of the rites of Osiris to those of Dionysus.(1027) We cannot reject the evidence of such intelligent and trustworthy witnesses on plain matters of fact which fell under their own cognisance. Their explanations of the worships it is indeed possible to reject, for the meaning of religious cults is often open to question; but resemblances of ritual are matters of observation. Therefore, those who explain Osiris as the sun are driven to the alternative of either dismissing as mistaken the testimony of antiquity to the similarity of the rites of Osiris, Adonis, Attis, Dionysus, and Demeter, or of interpreting all these rites as sun-worship. No modern scholar has fairly faced and accepted either side of this alternative. To accept the former would be to affirm that we know the rites of these deities better than the men who practised, or at least who witnessed them. To accept the latter would involve a wrenching, clipping, mangling, and distorting of myth and ritual from which even Macrobius shrank.(1028) On the other hand, the view that the essence of all these rites was the mimic death and revival of vegetation, explains them separately and collectively in an easy and natural way, and harmonises with the general testimony borne by antiquity to their substantial similarity. The evidence for thus explaining Adonis, Attis, and Osiris has now been presented to the reader; it remains to do the same for Dionysus and Demeter.

§ 7.—Dionysus.

The Greek god Dionysus or Bacchus(1029) is best known as the god of the vine, but he was also a god of trees in general. Thus we are told that almost all the Greeks sacrificed to “Dionysus of the tree.”(1030) In Boeotia one of his titles was “Dionysus in the tree.”(1031) His image was often merely an upright post, without arms, but draped in a mantle, with a bearded mask to represent the head, and with leafy boughs projecting from the head or body to show the nature of the deity.(1032) On a vase his rude effigy is depicted appearing out of a low tree or bush.(1033) He was the patron of cultivated trees;(1034) prayers were offered to him that he would make the trees grow;(1035) and he was especially honoured by husbandmen, chiefly fruit-growers, who set up an image of him, in the shape of a natural tree-stump, in their orchards.(1036) He was said to have discovered all tree-fruits, amongst which apples and figs are particularly mentioned;(1037) and he was himself spoken of as doing a husbandman’s work.(1038) He was referred to as “well-fruited,” “he of the green fruit,” and “making the fruit to grow.”(1039) One of his titles was “teeming” or “bursting” (as of sap or blossoms);(1040) and there was a Flowery Dionysus in Attica and at Patrae in Achaea.(1041) Amongst the trees particularly sacred to him, in addition to the vine, was the pine-tree.(1042) The Delphic oracle commanded the Corinthians to worship a particular pine-tree “equally with the god,” so they made two images of Dionysus out of it, with red faces and gilt bodies.(1043) In art a wand, tipped with a pine-cone, is commonly carried by the god or his worshippers.(1044) Again, the ivy and the fig-tree were especially associated with him. In the Attic township of Acharnae there was a Dionysus Ivy;(1045) at Lacedaemon there was a Fig Dionysus; and in Naxos, where figs were called _meilicha_, there was a Dionysus Meilichios, the face of whose image was made of fig-wood.(1046)

Like the other gods of vegetation whom we have been considering, Dionysus was believed to have died a violent death, but to have been brought to life again; and his sufferings, death, and resurrection were enacted in his sacred rites. The Cretan myth, as related by Firmicus, ran thus. He was said to have been the bastard son of Jupiter (Zeus), a Cretan king. Going abroad, Jupiter transferred the throne and sceptre to the child Dionysus, but, knowing that his wife Juno (Hera) cherished a jealous dislike of the child, he entrusted Dionysus to the care of guards upon whose fidelity he believed he could rely. Juno, however, bribed the guards, and amusing the child with toys and a cunningly-wrought looking-glass lured him into an ambush, where her satellites, the Titans, rushed upon him, cut him limb from limb, boiled his body with various herbs and ate it. But his sister Minerva, who had shared in the deed, kept his heart and gave it to Jupiter on his return, revealing to him the whole history of the crime. In his rage, Jupiter put the Titans to death by torture, and, to soothe his grief for the loss of his son, made an image in which he enclosed the child’s heart, and then built a temple in his honour.(1047) In this version a Euhemeristic turn has been given to the myth by representing Jupiter and Juno (Zeus and Hera) as a king and queen of Crete. The guards referred to are the mythical Curetes who danced a war-dance round the infant Dionysus as they are said to have done round the infant Zeus.(1048) Pomegranates were supposed to have sprung from the blood of Dionysus,(1049) as anemones from the blood of Adonis and violets from the blood of Attis. According to some, the severed limbs of Dionysus were pieced together, at the command of Zeus, by Apollo, who buried them on Parnassus.(1050) The grave of Dionysus was shown in the Delphic temple beside a golden statue of Apollo.(1051) Thus far the resurrection of the slain god is not mentioned, but in other versions of the myth it is variously related. One version, which represented Dionysus as a son of Demeter, averred that his mother pieced together his mangled limbs and made him young again.(1052) In others it is simply said that shortly after his burial he rose from the dead and ascended up to heaven;(1053) or that Zeus raised him up as he lay mortally wounded;(1054) or that Zeus swallowed the heart of Dionysus and then begat him afresh by Semele,(1055) who in the common legend figures as mother of Dionysus. Or, again, the heart was pounded up and given in a potion to Semele, who thereby conceived him.(1056)

Turning from the myth to the ritual, we find that the Cretans celebrated a biennial(1057) festival at which the sufferings and death of Dionysus were represented in every detail.(1058) Where the resurrection formed part of the myth, it also was enacted at the rites,(1059) and it even appears that a general doctrine of resurrection, or at least of immortality, was inculcated on the worshippers; for Plutarch, writing to console his wife on the death of their infant daughter, comforts her with the thought of the immortality of the soul as taught by tradition and revealed in the mysteries of Dionysus.(1060)

A different form of the myth of the death and resurrection of Dionysus is that he descended into Hades to bring up his mother Semele from the dead.(1061) The local Argive tradition was that he descended through the Alcyonian lake; and his return from the lower world, in other words his resurrection, was annually celebrated on the spot by the Argives, who summoned him from the water by trumpet blasts, while they threw a lamb into the lake as an offering to the warder of the dead.(1062) Whether this was a spring festival does not appear, but the Lydians certainly celebrated the advent of Dionysus in spring; the god was supposed to bring the season with him.(1063) Deities of vegetation, who are supposed to pass a certain portion of each year underground, naturally come to be regarded as gods of the lower world or of the dead. Both Dionysus and Osiris were so conceived.(1064)

A feature in the mythical character of Dionysus, which at first sight appears inconsistent with his nature as a deity of vegetation, is that he was often conceived and represented in animal shape, especially in the form, or at least with the horns, of a bull. Thus he is spoken of as “cow-born,” “bull,” “bull-shaped,” “bull-faced,” “bull-browed,” “bull-horned,” “horn-bearing,” “two-horned,” “horned.”(1065) He was believed to appear, at least occasionally, as a bull.(1066) His images were often, as at Cyzicus, made in bull shape,(1067) or with bull horns;(1068) and he was painted with horns.(1069) Types of the horned Dionysus are found amongst the surviving monuments of antiquity.(1070) On one statuette he appears clad in a bull’s hide, the head, horns, and hoofs hanging down behind.(1071) At his festivals Dionysus was believed to appear in bull form. The women of Elis hailed him as a bull, and prayed him to come with his bull’s-foot. They sang, “Come here, Dionysus, to thy holy temple by the sea; come with the Graces to thy temple, rushing with thy bull’s-foot, O goodly bull, O goodly bull!”(1072) According to the myth, it was in the shape of a bull that he was torn to pieces by the Titans;(1073) and the Cretans, in representing the sufferings and death of Dionysus, tore a live bull to pieces with their teeth.(1074) Indeed, the rending and devouring of live bulls and calves appear to have been a regular feature of the Dionysiac rites.(1075) The practice of representing the god in bull form or with some of the features of a bull, the belief that he appeared in bull form to his worshippers at the sacred rites, and the legend that it was in bull form that he had been torn in pieces—all these facts taken together leave no room to doubt that in rending and devouring a live bull at his festival his worshippers believed that they were killing the god, eating his flesh, and drinking his blood.

Another animal whose form Dionysus assumed was the goat. One of his names was “_Kid._”(1076) To save him from the wrath of Hera, his father Zeus changed him into a kid;(1077) and when the gods fled to Egypt to escape the fury of Typhon, Dionysus was turned into a goat.(1078) Hence when his worshippers rent in pieces a live goat and devoured it raw,(1079) they must have believed that they were eating the body and blood of the god.

This custom of killing a god in animal form, which we shall examine more fully presently, belongs to a very early stage in human culture, and is apt in later times to be misunderstood. The advance of thought tends to strip the old animal and plant gods of their bestial and vegetable husk, and to leave their human attributes (which are always the kernel of the conception) as the final and sole residuum. In other words, animal and plant gods tend to become purely anthropomorphic. When they have become wholly or nearly so, the animals and plants which were at first the deities themselves, still retain a vague and ill-understood connection with the anthropomorphic gods which have been developed out of them. The origin of the relationship between the deity and the animal or plant having been forgotten, various stories are invented to explain it. These explanations may follow one of two lines according as they are based on the habitual or on the exceptional treatment of the sacred animal or plant. The sacred animal was habitually spared, and only exceptionally slain; and accordingly the myth might be devised to explain either why it was spared or why it was killed. Devised for the former purpose, the myth would tell of some service rendered to the deity by the animal; devised for the latter purpose, the myth would tell of some injury inflicted by the animal on the god. The reason given for sacrificing goats to Dionysus is an example of a myth of the latter sort. They were sacrificed to him, it was said, because they injured the vine.(1080) Now the goat, as we have seen, was originally an embodiment of the god himself. But when the god had divested himself of his animal character and had become essentially anthropomorphic, the killing of the goat in his worship came to be regarded no longer as a slaying of the god himself, but as a sacrifice to him; and since some reason had to be assigned why the goat in particular should be sacrificed, it was alleged that this was a punishment inflicted on the goat for injuring the vine, the object of the god’s especial care. Thus we have the strange spectacle of a god sacrificed to himself on the ground that he is his own enemy. And as the god is supposed to partake of the victim offered to him, it follows that, when the victim is the god’s old self, the god eats of his own flesh. Hence the goat-god Dionysus is represented as eating raw goat’s blood;(1081) and the bull-god Dionysus is called “eater of bulls.”(1082) On the analogy of these instances we may conjecture that wherever a god is described as the eater of a particular animal, the animal in question was originally nothing but the god himself.(1083)

All this, however, does not explain why a deity of vegetation should appear in animal form. But the consideration of this point had better be deferred till we have discussed the character and attributes of Demeter. Meantime it remains to point out that in some places, instead of an animal, a human being was torn in pieces at the rites of Dionysus. This was the custom in Chios and Tenedos;(1084) and at Potniae in Boeotia the tradition ran that it had been formerly the custom to sacrifice to the goat-smiting Dionysus a child, for whom a goat was afterwards substituted.(1085) At Orchomenus the human victim was taken from the women of a certain family, called the Oleiae. At the annual festival the priest of Dionysus pursued these women with a drawn sword, and if he overtook one of them he had a right to slay her. This right was exercised as late as Plutarch’s time.(1086) As the slain bull or goat represented the slain god, so, we may suppose, the human victim also represented him. It is possible, however, that a tradition of human sacrifice may sometimes have been a mere misinterpretation of a sacrificial ritual in which an animal victim was treated as a human being. For example, at Tenedos the new-born calf sacrificed to Dionysus was shod in buskins, and the mother cow was tended like a woman in child-bed.(1087)

§ 8.—Demeter and Proserpine.

The Greek myth of Demeter and Proserpine is substantially identical with the Syrian myth of Aphrodite (Astarte) and Adonis, the Phrygian myth of Cybele and Attis, and the Egyptian myth of Isis and Osiris. In the Greek myth, as in its Asiatic and Egyptian counterparts, a goddess—Demeter—mourns the loss of a loved one—Proserpine—who personifies the vegetation, more especially the corn, which dies in summer(1088) to revive in spring. But in the Greek myth the loved and lost one is the daughter instead of the husband or lover of the goddess; and the mother as well as the daughter is a goddess of the corn.(1089) Thus, as modern scholars have recognised,(1090) Demeter and Proserpine are merely a mythical reduplication of the same natural phenomenon. Proserpine, so ran the Greek myth,(1091) was gathering flowers when the earth gaped, and Pluto, lord of the Dead, issuing from the abyss, carried her off on his golden car to be his bride in the gloomy subterranean world. Her sorrowing mother Demeter sought her over land and sea, and learning from the Sun her daughter’s fate, she suffered not the seed to grow, but kept it hidden in the ground, so that the whole race of men would have died of hunger if Zeus had not sent and fetched Proserpine from the nether world. Finally it was agreed that Proserpine should spend a third, or according to others a half,(1092) of each year with Pluto underground, but should come forth in spring to dwell with her mother and the gods in the upper world. Her annual death and resurrection, that is, her annual descent into the under world and her ascension from it, appear to have been represented in her rites.(1093)

With regard to the name Demeter, it has been plausibly argued by Mannhardt(1094) that the first part of the word is derived from _dēai_, a Cretan word for “barley”;(1095) and that thus Demeter means the Barley-mother or the Corn-mother; for the root of the word appears to have been applied to different kinds of grain by different branches of the Aryans, and even of the Greeks themselves.(1096) As Crete appears to have been one of the most ancient seats of the worship of Demeter,(1097) it is not surprising that her name should be of Cretan origin. This explanation of the name Demeter is supported by a host of analogies which the diligence of Mannhardt has collected from modern European folk-lore, and of which the following are specimens. In Germany the corn is very commonly personified under the name of the Corn-mother. Thus in spring, when the wind sets the corn in wave-like motion, the peasants say, “There comes the Corn-mother,” or “The Corn-mother is running over the field,” or “The Corn-mother is going through the corn.”(1098) When children wish to go into the fields to pull the blue corn-flowers or the red poppies, they are told not to do so, because the Corn-mother is sitting in the corn and will catch them.(1099) Or again she is called, according to the crop, the Rye-mother or the Pea-mother, and children are warned against straying in the rye or among the peas by threats of the Rye-mother or the Pea-mother. In Norway also the Pea-mother is said to sit among the peas.(1100) Similar expressions are current among the Slavs. The Poles and Czechs warn children against the Corn-mother who sits in the corn. Or they call her the Old Corn-woman, and say that she sits in the corn and strangles the children who tread it down.(1101) The Lithuanians say, “The Old Rye-woman sits in the corn.”(1102) Again the Corn-mother is believed to make the crop grow. Thus in the neighbourhood of Magdeburg it is sometimes said, “It will be a good year for flax; the Flax-mother has been seen.” At Dinkelsbühl (Bavaria) down to fifteen or twenty years ago, people believed that when the crops on a particular farm compared unfavourably with those of the neighbourhood, the reason was that the Corn-mother had punished the farmer for his sins.(1103) In a village of Styria it is said that the Corn-mother, in the shape of a female puppet made out of the last sheaf of corn and dressed in white, may be seen at midnight in the corn-fields, which she fertilises by passing through them; but if she is angry with a farmer, she withers up all his corn.(1104)

Further, the Corn-mother plays an important part in harvest customs. She is believed to be present in the handful of corn which is left standing last on the field; and with the cutting of this last handful she is caught, or driven away, or killed. In the first of these cases, the last sheaf is carried joyfully home and honoured as a divine being. It is placed in the barn, and at threshing the corn-spirit appears again.(1105) In the district of Hadeln (Hanover) the reapers stand round the last sheaf and beat it with sticks in order to drive the Corn-mother out of it. They call to each other, “There she is! hit her! Take care she doesn’t catch you!” The beating goes on till the grain is completely threshed out; then the Corn-mother is believed to be driven away.(1106) In the neighbourhood of Danzig the person who cuts the last ears of corn makes them into a doll, which is called the Corn-mother or the Old Woman, and is brought home on the last waggon.(1107) In some parts of Holstein the last sheaf is dressed in woman’s clothes and called the Corn-mother. It is carried home on the last waggon, and then thoroughly drenched with water. The drenching with water is doubtless a rain-charm.(1108) In the district of Bruck in Styria the last sheaf, called the Corn-mother, is made up into the shape of a woman by the oldest married woman in the village, of an age from fifty to fifty-five years. The finest ears are plucked out of it and made into a wreath, which, twined with flowers, is carried on her head by the prettiest girl of the village to the farmer or squire, while the Corn-mother is laid down in the barn to keep off the mice.(1109) In other villages of the same district the Corn-mother, at the close of harvest, is carried by two lads at the top of a pole. They march behind the girl who wears the wreath to the squire’s house, and while he receives the wreath and hangs it up in the hall, the Corn-mother is placed on the top of a pile of wood, where she is the centre of the harvest supper and dance. Afterwards she is hung up in the barn and remains there till the threshing is over. The man who gives the last stroke at threshing is called the son of the Corn-mother; he is tied up in the Corn-mother, beaten, and carried through the village. The wreath is dedicated in church on the following Sunday; and on Easter Eve the grain is rubbed out of it by a seven years’ old girl and scattered amongst the young corn. At Christmas the straw of the wreath is placed in the manger to make the cattle thrive.(1110) Here the fertilising power of the Corn-mother is plainly brought out by scattering the seed taken from her body (for the wreath is made out of the Corn-mother) among the new corn; and her influence over animal life is indicated by placing the straw in the manger. At Westerhüsen in Saxony the last corn cut is made in the shape of a woman decked with ribbons and cloth. It is fastened on a pole and brought home on the last waggon. One of the people on the waggon keeps waving the pole, so that the figure moves as if alive. It is placed on the threshing-floor, and stays there till the threshing is done.(1111) Amongst the Slavs also the last sheaf is known as the Rye-mother, the Wheat-mother, the Oats-mother, the Barley-mother, etc., according to the crop. In the district of Tarnow, Galicia, the wreath made out of the last stalks is called the Wheat-mother, Rye-mother, or Pea-mother. It is placed on a girl’s head and kept till spring, when some of the grain is mixed with the seed-corn.(1112) Here again the fertilising power of the Corn-mother is indicated. In France, also, in the neighbourhood of Auxerre, the last sheaf goes by the name of the Mother of the Wheat, Mother of the Barley, Mother of the Rye, or Mother of the Oats. It is left standing in the field till the last waggon is about to wend homewards. Then a puppet is made out of it, dressed with clothes belonging to the farmer, and adorned with a crown and a blue or white scarf. A branch of a tree is stuck in the breast of the puppet, which is now called the Ceres. At the dance in the evening the Ceres is placed in the middle of the floor, and the reaper who reaped fastest dances round it with the prettiest girl for his partner. After the dance a pyre is made. All the girls, each wearing a wreath, strip the puppet, pull it to pieces, and place it on the pyre, along with the flowers with which it was adorned. Then the girl who was the first to finish reaping sets fire to the pile, and all pray that Ceres may give a fruitful year. Here, as Mannhardt observes, the old custom has remained intact, though the name Ceres is a bit of schoolmaster’s learning.(1113) In Upper Britanny the last sheaf is always made into human shape; but if the farmer is a married man, it is made double and consists of a little corn-puppet placed inside of a large one. This is called the Mother-sheaf. It is delivered to the farmer’s wife, who unties it and gives drink-money in return.(1114)

Sometimes the last sheaf is called, not the Corn-mother, but the Harvest-mother or the Great Mother. In the province of Osnabrück (Hanover) it is called the Harvest-mother; it is made up in female form, and then the reapers dance about with it. In some parts of Westphalia the last sheaf at the rye harvest is made especially heavy by fastening stones in it. It is brought home on the last waggon and is called the Great Mother, though no special shape is given it. In the district of Erfurt a very heavy sheaf (not necessarily the last) is called the Great Mother, and is carried on the last waggon to the barn, where it is lifted down by all hands amid a fire of jokes.(1115)

Sometimes again the last sheaf is called the Grandmother, and is adorned with flowers, ribbons, and a woman’s apron. In East Prussia, at the rye or wheat harvest, the reapers call out to the woman who binds the last sheaf, “You are getting the Old Grandmother.” In the neighbourhood of Magdeburg the men and women servants strive who shall get the last sheaf, called the Grandmother. Whoever gets it will be married in the next year, but his or her spouse will be old; if a girl gets it, she will marry a widower; if a man gets it, he will marry an old crone. In Silesia the Grandmother—a huge bundle made up of three or four sheaves by the person who tied the last sheaf—was formerly fashioned into a rude likeness of the human form.(1116) In the neighbourhood of Belfast the last sheaf is sometimes called Granny. It is not cut in the usual way, but all the reapers throw their sickles at it and try to bring it down. It is plaited and kept till the (next?) autumn. Whoever gets it will marry in the course of the year.(1117)

Oftener the last sheaf is called the Old Woman or the Old Man. In Germany it is often shaped and dressed as a woman, and the person who cuts it or binds it is said to “get the Old Woman.”(1118) At Altisheim in Swabia when all the corn of a farm has been cut except a single strip, all the reapers stand in a row before the strip; each cuts his share rapidly, and he who gives the last cut “has the Old Woman.”(1119) When the sheaves are being set up in heaps, the person who gets hold of the Old Woman, which is the largest and thickest of all the sheaves, is jeered at by the rest, who sing out to him, “He has the Old Woman and must keep her.”(1120) The woman who binds the last sheaf is sometimes herself called the Old Woman, and it is said that she will be married in the next year.(1121) In Neusaass, West Prussia, both the last sheaf—which is dressed up in jacket, hat and ribbons—and the woman who binds it are called the Old Woman. Together they are brought home on the last waggon and are drenched with water.(1122) At Hornkampe, near Tiegenhof (West Prussia), when a man or woman lags behind the rest in binding the corn, the other reapers dress up the last sheaf in the form of a man or woman, and this figure goes by the laggard’s name, as “the old Michael,” “the idle Trine.” It is brought home on the last waggon, and, as it nears the house, the bystanders call out to the laggard, “You have got the Old Woman and must keep her.”(1123)

In these customs, as Mannhardt has remarked, the person who is called by the same name as the last sheaf and sits beside it on the last waggon is obviously identified with it; he or she represents the corn-spirit which has been caught in the last sheaf; in other words, the corn-spirit is represented in duplicate, by a human being and by a sheaf.(1124) The identification of the person with the sheaf is made still clearer by the custom of wrapping up in the last sheaf the person who cuts or binds it. Thus at Hermsdorf in Silesia it used to be the regular custom to tie up in the last sheaf the woman who had bound it.(1125) At Weiden in Bavaria it is the cutter, not the binder, of the last sheaf who is tied up in it.(1126) Here the person wrapt up in the corn represents the corn-spirit, exactly as a person wrapt in branches or leaves represents the tree-spirit.(1127)

The last sheaf, designated as the Old Woman, is often distinguished from the other sheaves by its size and weight. Thus in some villages of West Prussia the Old Woman is made twice as long and thick as a common sheaf, and a stone is fastened in the middle of it. Sometimes it is made so heavy that a man can barely lift it.(1128) Sometimes eight or nine sheaves are tied together to make the Old Woman, and the man who sets it up complains of its weight.(1129) At Itzgrund, in Saxe-Coburg, the last sheaf, called the Old Woman, is made large with the express intention of thereby securing a good crop next year.(1130) Thus the custom of making the last sheaf unusually large or heavy is a charm, working by sympathetic magic, to secure a large and heavy crop in the following year.

In Denmark also the last sheaf is made larger than the others, and is called the Old Rye-woman or the Old Barley-woman. No one likes to bind it, because whoever does so will, it is believed, marry an old man or an old woman. Sometimes the last wheat-sheaf, called the Old Wheat-woman, is made up in human shape, with head, arms, and legs, is dressed in clothes and carried home on the last waggon, the harvesters sitting beside it, drinking and huzzaing.(1131) Of the person who binds the last sheaf it is said, “She (or he) is the Old Rye-woman.”(1132)

In Scotland, when the last corn was cut after Hallowmas, the female figure made out of it was sometimes called the Carlin or Carline, _i.e._ the Old Woman. But if cut before Hallowmas, it was called the Maiden; if cut after sunset, it was called the Witch, being supposed to bring bad luck.(1133) We shall return to the Maiden presently. In County Antrim, down to a few years ago, when the sickle was finally expelled by the reaping machine, the few stalks of corn left standing last on the field were plaited together; then the reapers, blindfolded, threw their sickles at the plaited corn, and whoever happened to cut it through took it home with him and put it over his door. This bunch of corn was called the Carley(1134)—probably the same word as Carlin.

Similar customs are observed by Slavonic peoples. Thus in Poland the last sheaf is commonly called the Baba, that is, the Old Woman. “In the last sheaf,” it is said, “sits the Baba.” The sheaf itself is also called the Baba, and is sometimes composed of twelve smaller sheaves lashed together.(1135) In some parts of Bohemia the Baba, made out of the last sheaf, has the figure of a woman with a great straw hat. It is carried home on the last harvest-waggon and delivered, along with a garland, to the farmer by two girls. In binding the sheaves the women strive not to be last, for she who binds the last sheaf will have a child next year.(1136) The last sheaf is tied up with others into a large bundle, and a green branch is stuck on the top of it.(1137) Sometimes the harvesters call out to the woman who binds the last sheaf, “She has the Baba,” or “She is the Baba.” She has then to make a puppet, sometimes in female, sometimes in male form, out of the corn; the puppet is occasionally dressed with clothes, often with flowers and ribbons only. The cutter of the last stalks, as well as the binder of the last sheaf, was also called Baba; and a doll, called the Harvest-woman, was made out of the last sheaf and adorned with ribbons. The oldest reaper had to dance, first with this doll, and then with the farmer’s wife.(1138) In the district of Cracow, when a man binds the last sheaf, they say, “The Grandfather is sitting in it;” when a woman binds it, they say, “The Baba is sitting in it,” and the woman herself is wrapt up in the sheaf, so that only her head projects out of it. Thus encased in the sheaf, she is carried on the last harvest-waggon to the house, where she is drenched with water by the whole family. She remains in the sheaf till the dance is over, and for a year she retains the name of Baba.(1139)

In Lithuania the name for the last sheaf is Boba (Old Woman), answering to the Polish name Baba. The Boba is said to sit in the corn which is left standing last.(1140) The person who binds the last sheaf or digs the last potato is the subject of much banter, and receives and long retains the name of the Old Rye-woman or the Old Potato-woman.(1141) The last sheaf—the Boba—is made into the form of a woman, carried solemnly through the village on the last harvest-waggon, and drenched with water at the farmer’s house; then every one dances with it.(1142)