The Golden Bough: A Study in Magic and Religion (Third Edition, Vol. 08 of 12) - Frazer James George

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the highest dignitaries of the state, guides with his own hand the ox-drawn plough down several furrows and scatters the seed in a sacred field, or “field of God,” as it is called, the produce of which is afterwards examined from time to time with anxious care by the Governor of Peking, who draws omens from the appearance of the ears; it is a very happy omen if he should chance to find thirteen ears growing on one stalk. To prepare himself for the celebration of this solemn rite the emperor is expected to fast and remain continent for three days previously, and the princes and mandarins who accompany him to the field are bound to observe similar restrictions. The corn grown on the holy field which has thus been ploughed by the imperial hands is collected in yellow sacks and stored in a special granary to be used by the emperor in certain solemn sacrifices which he offers to the god [pg 015] Chan Ti and to his own ancestors. In the provinces of China the season of ploughing is similarly inaugurated by the provincial governors as representatives of the emperor.43

Analogy of the Chinese custom to the agricultural rites at Eleusis and elsewhere

      The sacred field, or “field of God,” in which the emperor of China thus ceremonially opens the ploughing for the year, and of which the produce is employed in sacrifice, reminds us of the Rarian plain at Eleusis, in which a sacred ploughing similarly took place every year, and of which the produce was in like manner devoted to sacrifice.44 Further, it recalls the little sacred rice-fields on which the Kayans of central Borneo inaugurate the various operations of the agricultural year by performing them in miniature.45 As I have already pointed out, all such consecrated enclosures were probably in origin what we may call spiritual preserves, that is, patches of ground which men set apart for the exclusive use of the corn-spirit to console him for the depredations they committed on all the rest of his domains. Again, the rule of fasting and continence observed by the Emperor of China and his august colleagues before they put their hands to the plough resembles the similar customs of abstinence practised by many savages as a preparation for engaging in the various labours of the field.46[pg 016]

The rending of live animals in the rites of Dionysus

      On the whole we may perhaps conclude that both as a goat and as a bull Dionysus was essentially a god of vegetation. The Chinese and European customs which I have cited47 may perhaps shed light on the custom of rending a live bull or goat at the rites of Dionysus. The animal was torn in fragments, as the Khond victim was cut in pieces, in order that the worshippers might each secure a portion of the life-giving and fertilising influence of the god. The flesh was eaten raw as a sacrament, and we may conjecture that some of it was taken home to be buried in the fields, or otherwise employed so as to convey to the fruits of the earth the quickening influence of the god of vegetation. The resurrection of Dionysus, related in his myth, may have been enacted in his rites by stuffing and setting up the slain ox, as was done at the Athenian bouphonia.

      § 2. Demeter, the Pig and the Horse

Association of the pig with Demeter. Pigs in the ritual of the Thesmophoria. The sacred serpent at Lanuvium

Passing next to the corn-goddess Demeter, and remembering that in European folk-lore the pig is a common embodiment of the corn-spirit,48 we may now ask whether the pig, which was so closely associated with Demeter, may not have been originally the goddess herself in animal form? The pig was sacred to her;49 in art she was portrayed carrying or accompanied by a pig;50 and the pig was regularly sacrificed in her mysteries, the reason assigned being that the pig injures the corn and is therefore an enemy of the goddess.51 But after an animal has been conceived as a god, or a god as an animal, it sometimes happens, as we have seen, that the god sloughs off his animal form and becomes purely anthropomorphic; and that then the animal, which at first had been slain in the character of the god, comes to be viewed as a victim offered [pg 017] to the god on the ground of its hostility to the deity; in short, the god is sacrificed to himself on the ground that he is his own enemy. This happened to Dionysus,52 and it may have happened to Demeter also. And in fact the rites of one of her festivals, the Thesmophoria, bear out the view that originally the pig was an embodiment of the corn-goddess herself, either Demeter or her daughter and double Persephone. The Attic Thesmophoria was an autumn festival, celebrated by women alone in October,53 and appears to have represented with mourning rites the descent of Persephone (or Demeter)54 into the lower world, and with joy her return from the dead.55 Hence the name Descent or Ascent variously applied to the first, and the name Kalligeneia (fair-born) applied to the third day of the festival. Now from an old scholium on Lucian56 we learn some details about the mode of celebrating the Thesmophoria, which shed important light on the part of the festival called the Descent or the Ascent. The scholiast tells us that it was customary at the Thesmophoria to throw pigs, cakes of dough, and branches of pine-trees into “the chasms of Demeter and Persephone,” which appear to have been sacred caverns or vaults.57 In these caverns or vaults [pg 018] there were said to be serpents, which guarded the caverns and consumed most of the flesh of the pigs and dough-cakes which were thrown in. Afterwards – apparently at the next annual festival58– the decayed remains of the pigs, the cakes, and the pine-branches were fetched by women called “drawers,” who, after observing rules of ceremonial purity for three days, descended into the caverns, and, frightening away the serpents by clapping their hands, brought up the remains and placed them on the altar. Whoever got a piece of the decayed flesh and cakes, and sowed it with the seed-corn in his field, was believed to be sure of a good crop. With the feeding of the serpents in the vaults by the women we may compare an ancient Italian ritual. At Lanuvium a serpent lived in a sacred cave within a grove of Juno. On certain appointed days a number of holy maidens, with their eyes bandaged, entered the grove carrying cakes of barley in their hands. Led, as it was believed, by the divine spirit, they walked straight to the serpent's den and offered him the cakes. If they were chaste, the serpent ate the cakes, the parents of the girls rejoiced, and farmers prognosticated an abundant harvest. But if the girls were unchaste, the serpent left the cakes untasted, and ants came and crumbled the rejected viands and so removed them bit by bit from the sacred grove, thereby purifying the hallowed spot from the stain it had contracted by the presence of a defiled maiden.59

Legend told to explain the ritual of the Thesmophoria

      To explain the rude and ancient ritual of the Thesmophoria [pg 019] the following legend was told. At the moment when Pluto carried off Persephone, a swineherd called Eubuleus chanced to be herding his swine on the spot, and his herd was engulfed in the chasm down which Pluto vanished with Persephone. Accordingly at the Thesmophoria pigs were annually thrown into caverns to commemorate the disappearance of the swine of Eubuleus.60 It follows from this that the casting of the pigs into the vaults at the Thesmophoria formed part of the dramatic representation of Persephone's descent into the lower world; and as no image of Persephone appears to have been thrown in, we may infer that the descent of the pigs was not so much an accompaniment of her descent as the descent itself, in short, that the pigs were Persephone. Afterwards when Persephone or Demeter (for the two are equivalent) took on human form, a reason had to be found for the custom of throwing pigs into caverns at her festival; and this was done by saying that when Pluto carried off Persephone, there happened to be some swine browsing near, which were swallowed up along with her. The story is obviously a forced and awkward attempt to bridge over the gulf between the old conception of the corn-spirit as a pig and the new conception of her as an anthropomorphic goddess. A trace of the older conception survived in the legend that when the sad mother was searching for traces of the vanished Persephone, the footprints of the lost one were obliterated by the footprints of a pig; Скачать книгу

<p>43</p>

Du Halde, The General History of China, Third Edition (London, 1741), ii. 120-122; Huc, L'Empire Chinois5 (Paris, 1879), ii. 338-343; Rev. J. H. Gray, China (London, 1878), ii. 116-118. Compare The Sacred Books of China, translated by James Legge, Part iii., The Lî Kî (Sacred Books of the East, vol. xxvii., Oxford, 1885), pp. 254 sq.: “In this month [the first month of spring] the son of Heaven on the first day prays to God for a good year; and afterwards, the day of the first conjunction of the sun and moon having been chosen, with the handle and share of the plough in the carriage, placed between the man-at-arms who is its third occupant and the driver, he conducts his three ducal ministers, his nine high ministers, the feudal princes and his Great officers, all with their own hands to plough the field of God. The son of Heaven turns up three furrows, each of the ducal ministers five, and the other ministers and feudal princes nine. When they return, he takes in his hand a cup in the great chamber, all the others being in attendance on him and the Great officers, and says, ‘Drink this cup of comfort after your toil.’ In this month the vapours of heaven descend and those of the earth ascend. Heaven and earth are in harmonious co-operation. All plants bud and grow.” Here the selection of a day in spring when sun and moon are in conjunction is significant. Such conjunctions are regarded as marriages of the great luminaries and therefore as the proper seasons for the celebration of rites designed to promote fertility. See The Dying God, p. 73.

<p>44</p>

See above, pp. 74, 108.

<p>45</p>

See above, p. 93.

<p>46</p>

See above, pp. 94, 109; The Magic Art and the Evolution of Kings, ii. 105 sqq.

<p>47</p>

As to the European customs, see above, p. 12.

<p>48</p>

See above, vol. i. pp. 298 sqq.

<p>49</p>

Scholiast on Aristophanes, Acharn. 747.

<p>50</p>

J. Overbeck, Griechische Kunstmythologie, Besonderer Theil, ii. (Leipsic, 1873-1878), p. 493; Müller-Wieseler, Denkmäler der alten Kunst, ii. pl. viii. 94.

<p>51</p>

Hyginus, Fab. 277; Cornutus, Theologiae Graecae Compendium, 28; Macrobius, Saturn. i. 12. 23; Scholiast on Aristophanes, Acharn. 747; id., on Frogs, 338; id., on Peace, 374; Servius on Virgil, Georg. ii. 380; Aelian, Nat. Anim. x. 16.

<p>52</p>

See above, vol. i. pp. 22 sq.

<p>53</p>

As to the Thesmophoria see my article “Thesmophoria” in the Encyclopaedia Britannica, Ninth Edition, vol. xxiii, 295 sqq.; August Mommsen, Feste der Stadt Athen im Altertum (Leipsic, 1898), pp. 308 sqq.; Miss J. E. Harisson, Prolegomena to the Study of Greek Religion2 (Cambridge, 1908), pp. 120 sqq.; M. P. Nilsson, Griechische Feste (Leipsic, 1906), pp. 313 sqq.; L. R. Farnell, The Cults of the Greek States, iii. (Oxford, 1907) pp. 75 sqq. At Thebes and in Delos the Thesmophoria was held in summer, in the month of Metageitnion (August). See Xenophon, Hellenica, v. 2. 29; M. P. Nilsson Griechische Feste, pp. 316 sq.

<p>54</p>

Photius, Lexicon, s. v. στήνια, speaks of the ascent of Demeter from the lower world; and Clement of Alexandria speaks of both Demeter and Persephone as having been engulfed in the chasm (Protrept. ii. 17). The original equivalence of Demeter and Persephone must be borne steadily in mind.

<p>55</p>

Plutarch, Isis et Osiris, 69; Photius, Lexicon, s. v. στήνια.

<p>56</p>

E. Rohde, “Unedirte Lucians-scholien, die attischen Thesmophorien und Haloen betreffend,” Rheinisches Museum, N.F., xxv. (1870) p. 548; Scholia in Lucianum, ed. H. Rabe (Leipsic, 1906), pp. 275 sq. Two passages of classical writers (Clement of Alexandria, Protrept. ii. 17, and Pausanias, ix. 8. 1) refer to the rites described by the scholiast on Lucian, and had been rightly interpreted by Chr. A. Lobeck (Aglaophamus, pp. 827 sqq.) before the discovery of the scholia.

<p>57</p>

The scholiast speaks of them as megara and adyta. The name megara is thought to be derived from a Phoenician word meaning “cavern,” “subterranean chasm,” the Hebrew מעךה. See F. C. Moyers, Die Phoenizier (Bonn, 1841), i. 220. In Greek usage the megara were properly subterranean vaults or chasms sacred to the gods. See Hesychius, quoted by Movers, l. c. (the passage does not appear in M. Schmidt's minor edition of Hesychius); Porphyry, De antro nympharum, 6; and my note on Pausanias, ii. 2. 1.

<p>58</p>

We infer this from Pausanias, ix. 8. 1, though the passage is incomplete and apparently corrupt. For ἐν Δωδώνῃ Lobeck (Aglaophamus, pp. 829 sq.) proposed to read ἀναδῦναι or ἀναδοθῆαι. At the spring and autumn festivals of Isis at Tithorea geese and goats were thrown into the adyton and left there till the following festival, when the remains were removed and buried at a certain spot a little way from the temple. See Pausanias, x. 32. 14. This analogy supports the view that the pigs thrown into the caverns at the Thesmophoria were left there till the next festival.

<p>59</p>

Aelian, De natura animalium, xi. 16; Propertius, v. 8. 3-14. The feeding of the serpent is represented on a Roman coin of about 64 b. c.; on the obverse of the coin appears the head of Juno Caprotina. See E. Babelon, Monnaies de la République Romaine (Paris, 1886), ii. 402. A common type of Greek art represents a woman feeding a serpent out of a saucer. See Adonis, Attis, Osiris, Second Edition, p. 75.

<p>60</p>

Scholia in Lucianum, ed. H. Rabe, pp. 275 sq.