| IN THE PRECEDING chapters we saw
that in antiquity the civilised nations of Western Asia and Egypt pictured to
themselves the changes of the seasons, and particularly the annual growth and
decay of vegetation, as episodes in the life of gods, whose mournful death and happy resurrection they celebrated with dramatic
rites of alternate lamentation and rejoicing. But if the celebration was in form
dramatic, it was in substance magical; that is to say, it was intended, on the
principles of sympathetic magic, to ensure the vernal regeneration of plants and
the multiplication of animals, which had seemed to be menaced by the inroads of
winter. In the ancient world, however, such ideas and such rites were by no
means confined to the Oriental peoples of Babylon and Syria, of Phrygia and
Egypt; they were not a product peculiar to the religious mysticism of the dreamy
East, but were shared by the races of livelier fancy and more mercurial
temperament who inhabited the shores and islands of the Aegean. We need not,
with some enquirers in ancient and modern times, suppose that these Western
peoples borrowed from the older civilisation of the Orient the conception of the
Dying and Reviving God, together with the solemn ritual, in which that
conception was dramatically set forth before the eyes of the worshippers. More
probably the resemblance which may be traced in this respect between the
religions of the East and West is no more than what we commonly, though
incorrectly, call a fortuitous coincidence, the effect of similar causes acting
alike on the similar constitution of the human mind in different countries and
under different skies. The Greek had no need to journey into far countries to
learn the vicissitudes of the seasons, to mark the fleeting beauty of the damask
rose, the transient glory of the golden corn, the passing splendour of the
purple grapes. Year by year in his own beautiful land he beheld, with natural
regret, the bright pomp of summer fading into the gloom and stagnation of
winter, and year by year he hailed with natural delight the outburst of fresh
life in spring. Accustomed to personify the forces of nature, to tinge her cold
abstractions with the warm hues of imagination, to clothe her naked realities
with the gorgeous drapery of a mythic fancy, he fashioned for himself a train of
gods and goddesses, of spirits and elves, out of the shifting panorama of the
seasons, and followed the annual fluctuations of their fortunes with alternate
emotions of cheerfulness and dejection, of gladness and sorrow, which found
their natural expression in alternate rites of rejoicing and lamentation, of
revelry and mourning. A consideration of some of the Greek divinities who thus
died and rose again from the dead may furnish us with a series of companion
pictures to set side by side with the sad figures of Adonis, Attis, and Osiris.
We begin with Dionysus. |
1 |
| The god Dionysus or Bacchus is best known to us as a personification of
the vine and of the exhilaration produced by the juice of the grape. His
ecstatic worship, characterised by wild dances, thrilling music, and tipsy
excess, appears to have originated among the rude tribes of Thrace, who were
notoriously addicted to drunkenness. Its mystic doctrines and extravagant rites
were essentially foreign to the clear intelligence and sober temperament of the
Greek race. Yet appealing as it did to that love of mystery and that proneness to revert to savagery which seem to be innate in most
men, the religion spread like wildfire through Greece until the god whom Homer
hardly deigned to notice had become the most popular figure of the pantheon. The
resemblance which his story and his ceremonies present to those of Osiris have
led some enquirers both in ancient and modern times to hold that Dionysus was
merely a disguised Osiris, imported directly from Egypt into Greece. But the
great preponderance of evidence points to his Thracian origin, and the
similarity of the two worships is sufficiently explained by the similarity of
the ideas and customs on which they were founded. |
2 |
| While the vine with its clusters was the most characteristic manifestation
of Dionysus, he was also a god of trees in general. Thus we are told that almost
all the Greeks sacrificed to “Dionysus of the tree.” In Boeotia one of his
titles was “Dionysus in the tree.” 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. On a vase his rude effigy is depicted appearing out of a low tree or
bush. At Magnesia on the Maeander an image of Dionysus is said to have been
found in a plane-tree, which had been broken by the wind. He was the patron of
cultivated trees: prayers were offered to him that he would make the trees grow;
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. He was
said to have discovered all tree-fruits, amongst which apples and figs are
particularly mentioned; and he was referred to as “well-fruited,” “he of the
green fruit,” and “making the fruit to grow.” One of his titles was “teeming” or
“bursting” (as of sap or blossoms); and there was a Flowery Dionysus in Attica
and at Patrae in Achaia. The Athenians sacrificed to him for the prosperity of
the fruits of the land. Amongst the trees particularly sacred to him, in
addition to the vine, was the pine-tree. 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. In art a
wand, tipped with a pine-cone, is commonly carried by the god or his
worshippers. Again, the ivy and the fig-tree were especially associated with
him. In the Attic township of Acharnae there was a Dionysus Ivy; 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. |
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| Further, there are indications, few but significant, that Dionysus was
conceived as a deity of agriculture and the corn. He is spoken of as himself
doing the work of a husbandman: he is reported to have been the first to yoke
oxen to the plough, which before had been dragged by hand alone; and some people
found in this tradition the clue to the bovine shape in which, as we shall see,
the god was often supposed to present himself to his worshippers. Thus guiding
the ploughshare and scattering the seed as he went, Dionysus is said to have eased the labour of the husbandman. Further, we
are told that in the land of the Bisaltae, a Thracian tribe, there was a great
and fair sanctuary of Dionysus, where at his festival a bright light shone forth
at night as a token of an abundant harvest vouchsafed by the diety; but if the
crops were to fail that year, the mystic light was not seen, darkness brooded
over the sanctuary as at other times. Moreover, among the emblems of Dionysus
was the winnowing-fan, that is the large open shovel-shaped basket, which down
to modern times has been used by farmers to separate the grain from the chaff by
tossing the corn in the air. This simple agricultural instrument figured in the
mystic rites of Dionysus; indeed the god is traditionally said to have been
placed at birth in a winnowing-fan as in a cradle: in art he is represented as
an infant so cradled; and from these traditions and representations he derived
the epithet of Liknites, that is, “He of the Winnowing-fan.” |
4 |
| Like other gods of vegetation 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. His tragic story is thus told by
the poet Nonnus. Zeus in the form of a serpent visited Persephone, and she bore
him Zagreus, that is, Dionysus, a horned infant. Scarcely was he born, when the
babe mounted the throne of his father Zeus and mimicked the great god by
brandishing the lightning in his tiny hand. But he did not occupy the throne
long; for the treacherous Titans, their faces whitened with chalk, attacked him
with knives while he was looking at himself in a mirror. For a time he evaded
their assaults by turning himself into various shapes, assuming the likeness
successively of Zeus and Cronus, of a young man, of a lion, a horse, and a
serpent. Finally, in the form of a bull, he was cut to pieces by the murderous
knives of his enemies. His Cretan myth, as related by Firmicus Maternus, ran
thus. He was said to have been the bastard son of Jupiter, a Cretan king. Going
abroad, Jupiter transferred the throne and sceptre to the youthful Dionysus,
but, knowing that his wife Juno 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 rattles
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. 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. Very noteworthy is the legend, recorded both by Nonnus and
Firmicus, that in his infancy Dionysus occupied for a short time the throne of
his father Zeus. So Proclus tells us that “Dionysus was the last king of the
gods appointed by Zeus. For his father set him on the kingly throne, and placed
in his hand the sceptre, and made him king of all the gods of the world.” Such
traditions point to a custom of temporarily investing the king’s son with the
royal dignity as a preliminary to sacrificing him instead of his father.
Pomegranates were supposed to have sprung from the blood of Dionysus, as
anemones from the blood of Adonis and violets from the blood of Attis: hence
women refrained from eating seeds of pomegranates at the festival of the
Thesmophoria. According to some, the severed limbs of Dionysus were pieced
together, at the command of Zeus, by Apollo, who buried them on Parnassus. The
grave of Dionysus was shown in the Delphic temple beside a golden statue of
Apollo. However, according to another account, the grave of Dionysus was at
Thebes, where he is said to have been torn in pieces. Thus far the resurrection
of the slain god is not mentioned, but in other versions of the myth it is
variously related. According to one version, which represented Dionysus as a son
of Zeus and Demeter, his mother pieced together his mangled limbs and made him
young again. In others it is simply said that shortly after his burial he rose
from the dead and ascended up to heaven; or that Zeus raised him up as he lay
mortally wounded; or that Zeus swallowed the heart of Dionysus and then begat
him afresh by Semele, 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. |
5 |
| Turning from the myth to the ritual, we find that the Cretans celebrated a
biennial festival at which the passion of Dionysus was represented in every
detail. All that he had done or suffered in his last moments was enacted before
the eyes of his worshippers, who tore a live bull to pieces with their teeth and
roamed the woods with frantic shouts. In front of them was carried a casket
supposed to contain the sacred heart of Dionysus, and to the wild music of
flutes and cymbals they mimicked the rattles by which the infant god had been
lured to his doom. Where the resurrection formed part of the myth, it also was
acted at the rites, 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. 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. The local Argive tradition was that he went down
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.
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. Deities of vegetation, who are believed 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. |
6 |
| 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.” He was believed to appear, at least occasionally, as a
bull. His images were often, as at Cyzicus, made in bull shape, or with bull
horns; and he was painted with horns. Types of the horned Dionysus are found
amongst the surviving monuments of antiquity. On one statuette he appears clad
in a bull’s hide, the head, horns, and hoofs hanging down behind. Again, he is
represented as a child with clusters of grapes round his brow, and a calf’s
head, with sprouting horns, attached to the back of his head. On a red-figured
vase the god is portrayed as a calf-headed child seated on a woman’s lap. The
people of Cynaetha held a festival of Dionysus in winter, when men, who had
greased their bodies with oil for the occasion, used to pick out a bull from the
herd and carry it to the sanctuary of the god. Dionysus was supposed to inspire
their choice of the particular bull, which probably represented the deity
himself; for at his festivals he 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 hither, 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!” The Bacchanals of Thrace wore horns in imitation of their god. According
to the myth, it was in the shape of a bull that he was torn to pieces by the
Titans; and the Cretans, when they acted the sufferings and death of Dionysus,
tore a live bull to pieces with their teeth. Indeed, the rending and devouring
of live bulls and calves appear to have been a regular feature of the Dionysiac
rites. When we consider the practice of portraying the god as a bull or with
some of the features of the animal, the belief that he appeared in bull form to
his worshippers at the sacred rites, and the legend that in bull form he had
been torn in pieces, we cannot doubt that in rending and devouring a live bull
at his festival the worshippers of Dionysus believed themselves to be killing
the god, eating his flesh, and drinking his blood. |
7 |
| Another animal whose form Dionysus assumed was the goat. One of his names
was “Kid.” At Athens and at Hermion he was worshipped under the title of “the
one of the Black Goatskin,” and a legend ran that on a
certain occasion he had appeared clad in the skin from which he took the title.
In the wine-growing district of Phlius, where in autumn the plain is still
thickly mantled with the red and golden foliage of the fading vines, there stood
of old a bronze image of a goat, which the husbandmen plastered with gold-leaf
as a means of protecting their vines against blight. The image probably
represented the vine-god himself. To save him from the wrath of Hera, his father
Zeus changed the youthful Dionysus into a kid; and when the gods fled to Egypt
to escape the fury of Typhon, Dionysus was turned into a goat. Hence when his
worshippers rent in pieces a live goat and devoured it raw, they must have
believed that they were eating the body and blood of the god. The custom of
tearing in pieces the bodies of animals and of men and then devouring them raw
has been practised as a religious rite by savages in modern times. We need not
therefore dismiss as a fable the testimony of antiquity to the observance of
similar rites among the frenzied worshippers of Bacchus. |
8 |
| The custom of killing a god in animal form, which we shall examine more in
detail further on, belongs to a very early stage of 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 connexion with the anthropomorphic gods who have 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 exemplifies a myth of the latter sort.
They were sacrificed to him, it was said, because they injured the vine. 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 deity himself, but as a sacrifice offered 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 deity 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; and the bull-god Dionysus is called
“eater of bulls.” On the analogy of these instances we may conjecture that
wherever a deity is described as the eater of a particular animal, the animal in
question was originally nothing but the deity himself. Later on we shall find
that some savages propitiate dead bears and whales by offering them portions of
their own bodies. |
9 |
| All this, however, does not explain why a deity of vegetation should
appear in animal form. But the consideration of that point had better be
deferred till we have discussed the character and attributes of Demeter.
Meantime it remains to mention that in some places, instead of an animal, a
human being was torn in pieces at the rites of Dionysus. This was the practice
in Chios and Tenedos; 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. At Orchomenus, as we have seen, the
human victim was taken from the women of an old royal family. As the slain bull
or goat represented the slain god, so, we may suppose, the human victim also
represented him. |
10 |
| The legends of the deaths of Pentheus and Lycurgus, two kings who are said
to have been torn to pieces, the one by Bacchanals, the other by horses, for
their opposition to the rites of Dionysus, may be, as I have already suggested,
distorted reminiscences of a custom of sacrificing divine kings in the character
of Dionysus and of dispersing the fragments of their broken bodies over the
fields for the purpose of fertilising them. It is probably no mere coincidence
that Dionysus himself is said to have been torn in pieces at Thebes, the very
place where according to legend the same fate befell king Pentheus at the hands
of the frenzied votaries of the vine-god. |
11 |
| However, 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. At Rome a shegoat was sacrificed to Vedijovis as if it were a human
victim. Yet on the other hand it is equally possible, and perhaps more probable,
that these curious rites were themselves mitigations of an older and ruder
custom of sacrificing human beings, and that the later pretence of treating the
sacrificial victims as if they were human beings was merely part of a pious and
merciful fraud, which palmed off on the deity less precious victims than living
men and women. This interpretation is supported by many undoubted cases in which
animals have been substituted for human victims. |
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