Isis

The original meaning of the goddess Isis is still more difficult to determine than tliat of her brother and husband Osiris. Her attributes and epithets were so numerous that in the hieroglyphics she is called " the mariy-named," " the thousand-named," and in Greek inscriptions " the myriad-named." Yet in her complex nature it is perhaps still possible to detect the original nucleus round which by a slow process of accretion the other elements gathered. For if her brother and husband Osiris was in one of his aspects the corn-god, as we have seen reason to believe, she must surely have been the corn-goddess. There are at least some grounds for thinking so. For if we may trust Dio- dorus Siculus, 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 pro- cession to commemorate the boon she had conferred on men. A further detail is added by Augustine. He says that Isis made the discovery of barley at 'the moment when she was sacrificing to the common ancestors of her husband and herself, all of whom had been kings, and that she showed the newly discovered ears of barley to Osiris and his councillor Thoth or Mercury, as Roman writers called him. That is why, adds Augustine, they identify Isis with Ceres. Further, at harvest-time, when the Egyptiar reapers had cut the first stalks, they laid them down and beat their breasts, wailing and calling upon Isis. The custom has been already explained as a lament for the corn-spirit slain under the sickle. Amongst the epithets by which Isis is designated in the inscriptions are " Creatress of green things," " Green goddess, whose green colour is like unto the greenness of (be earth," " Lady of Bread," " Lady of Beer," " Lady of Abundance." According to Brugsch she is " not only the creatress of the fresh verdure of vegetation which covers the earth, but is actually the green

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corn-field itself, which is personified as a goddess." This is confirmed by her epithet Sochit or Socket, meaning " a corn-field," a sense which the word still retains in Coptic. The Greeks conceived of Isis as a corn-goddess, for they identified her with Demeter. 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 " ; 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." Accordingly, Greek or Roman artists often represented her with ears of corn on her head or in her hand.

Such, we may suppose, was Isis in the olden time, a rustic Corn- Mother adored with uncouth rites by Egyptian swains. But the homely features of the clownish goddess could hardly be traced in the refined, the saintly form which, spiritualised by ages of religious evolution, she presented to her worshippers of after days as the true wife, the tender mother, the beneficent queen of nature, encircled with the nimbus of moral purity, of immemorial and mysterious sanctity. Thus chastened and transfigured she won many hearts far beyond the boundaries of her native land. In that welter of religions which accompanied the decline of national life in antiquity her worship was one of the most popular at Rome and throughout the empire. Some of the Roman emperors themselves were openly addicted to it. And however the religion of Isis may, like any other, have been often worn as a cloak by men and women of loose life, her rites appear on the whole to have been honourably distinguished by a dignity and com- posure, a solemnity and decorum, well fitted to soothe the troubled mind, to ease the burdened heart. They appealed therefore to gentle spirits, and above all to women, whom the bloody and licentious rites of other Oriental goddesses only shocked and repelled. We need not wonder, then, that in a period of decadence, when traditional faiths were shaken, when systems clashed, when men's minds were dis- quieted, when the fabric of empire itself, once deemed eternal, began to show ominous rents and fissures, the serene figure of Isis with her spiritual calm, her gracious promise of immortality, should have appeared to many like a star in a stormy sky, and should have roused in their breasts a rapture of devotion not unlike that which was paid in the Middle Ages to the Virgin Mary. Indeed her stately ritual, with its shaven and tonsured priests, its matins and vespers, its tinkling music, its baptism and aspersions of holy water, its solemn processions, its jewelled images of the Mother of God, presented many points of similarity to the pomps and ceremonies of CathoHcism. The re- " semblance need not be purely accidental. Ancient Egypt may have contributed its share to the gorgeous symbolism of the Catholic Church as well as to the pale abstractions of her theology. Certainly in art the figure of Isis suckling the infant Horus is so like that of the Madonna and child that it has sometimes received the adoration of ignorant Christians. And to Isis in her later character of patroness of mariners th% Virgin Mary perhaps owes her beautiful epithet of Stella Maris,

364 OSIRIS AND THE SUN ch.

" Star of the Sea," under which she is adored by tempest-tossed sailors. The attributes of a marine deity may have been bestowed on Isis by the sea-faring Greeks of Alexandria. They are quite foreign to her original character and to the habits of the Egyptians, who had no love of the sea. On this hypothesis Sirius, the bright star of Isis, which on July mornings rises from the glassy waves of the eastern Mediterranean, a harbinger of halcyon weather to mariners, was the true Stella Maris, " the Star of the Sea."

CHAPTER XLH

OSIRIS AND THE SUN

Osiris has been sometimes interpreted as the sun-god, and in modern times this view has been held by so many distinguished writers that it deserves a brief examination. If we enquire on what evidence Osiris has been identified with the sun or the sun-god, it will be found on analysis to be minute in quantity and dubious, where it is not absolutely worthless, in quality. The diligent Jablonski, the first modern scholar to collect and sift 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. Of the ancient writers whom he condescends to quote, the only two who expressly identify Osiris with the sun are Diodorus and Macrobius. But little weight can be attached to their evidence ; for the statement of Diodorus is vague and rhetorical, and the reasons which Macrobius, one of the fathers of solar mythology, assigns for the identification are exceedingly slight.

The ground upon which some modern writers seem chiefl}^ 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 indicate that it is the diurnal, and not the annual, course of the sun to which they understand the myth to apply. Thus Renouf, who identified Osiris with the sun, admitted that the Egyptian sun could not with any show of reason be described as dead in winter. 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 ?

In the course of our enquiry 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.

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as a matter of fact, has been so conceived and represented in folk- custom. That phenomenon is the annual growth and decay of vege- tation. 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. 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. 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. Herodotus found the similarity between the rites of Osiris and Dionysus so great, that he thought it impossible the latter could have arisen inde- pendently; they must, he supposed, have been recently borrowed, with slight alterations, by the Greeks from the Egyptians. Again, Plutarch, a very keen student of comparative religion, insists upon the detailed resemblance of the rites of Osiris to those of Dionysus. We cannot reject the evidence of such intelligent and trustworthy witnesses on plain matters of fact which- fell under their own cognizance. 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. 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 the ancients to their substantial similarity.

CHAPTER XLHI

DIONYSUS

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

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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 insure 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 com- monly, 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 tran- sient 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.

The god Dionysus or Bacchus is best known to us as a personifica- tion 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

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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.

While the vine with its clusters was the most characteristic mani- festation 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.

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

388 DIONYSUS CH.

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 deity; 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 modem times has been used by fanners 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 tradi- tions and representations he derived the epithet of Liknites, that is, " He of the Winnowing-fan."

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

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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.

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 ilutes 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 immortahty, 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

390 DIONYSUS ch.

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.

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.

Another animal whose form Dionysus assumed was the goat. One of his names was " Kid." At Athens and at Hermion he was wor- shipped under the title of "the one of the Black Goatskin," and a

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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.

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 anthropo- morphic. 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 char- acter 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 injur- ing 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

392 DIONYSUS ch.

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 ilesh. 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 par- ticular 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.

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 ipotniae 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.

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.

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 she- goat 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.

XLiv DEMETER AND PERSEPHONE 393