Chapter X. The Gardens of Adonis.

(M181) Perhaps the best proof that Adonis was a deity of vegetation, and especially of the corn, is furnished by the gardens of Adonis, as they were called. These were baskets or pots filled with earth, in which wheat, barley, lettuces, fennel, and various kinds of flowers were sown and tended for eight days, chiefly or exclusively by women. Fostered by the sun’s heat, the plants shot up rapidly, but having no root they withered as rapidly away, and at the end of eight days were carried out with the images of the dead Adonis, and flung with them into the sea or into springs.(698)

(M182) These gardens of Adonis are most naturally interpreted as representatives of Adonis or manifestations of his power; they represented him, true to his original nature, in vegetable form, while the images of him, with which they were carried out and cast into the water, portrayed him in his later human shape. All these Adonis ceremonies, if I am right, were originally intended as charms to promote the growth or revival of vegetation; and the principle by which they were supposed to produce this effect was homoeopathic or imitative magic. For ignorant people suppose that by mimicking the effect which they desire to produce they actually help to produce it; thus by sprinkling water they make rain, by lighting a fire they make sunshine, and so on. Similarly, by mimicking the growth of crops they hope to ensure a good harvest. The rapid growth of the wheat and barley in the gardens of Adonis was intended to make the corn shoot up; and the throwing of the gardens and of the images into the water was a charm to secure a due supply of fertilizing rain.(699) The same, I take it, was the object of throwing the effigies of Death and the Carnival into water in the corresponding ceremonies of modern Europe.(700) Certainly the custom of drenching with water a leaf-clad person, who undoubtedly personifies vegetation, is still resorted to in Europe for the express purpose of producing rain.(701) Similarly the custom of throwing water on the last corn cut at harvest, or on the person who brings it home (a custom observed in Germany and France, and till quite lately in England and Scotland), is in some places practised with the avowed intent to procure rain for the next year’s crops. Thus in Wallachia and amongst the Roumanians in Transylvania, when a girl is bringing home a crown made of the last ears of corn cut at harvest, all who meet her hasten to throw water on her, and two farm-servants are placed at the door for the purpose; for they believe that if this were not done, the crops next year would perish from drought.(702) So amongst the Saxons of Transylvania, the person who wears the wreath made of the last corn cut is drenched with water to the skin; for the wetter he is, the better will be next year’s harvest, and the more grain there will be threashed out. Sometimes the wearer of the wreath is the reaper who cut the last corn.(703) In Northern Euboea, when the corn-sheaves have been piled in a stack, the farmer’s wife brings a pitcher of water and offers it to each of the labourers that he may wash his hands. Every man, after he has washed his hands, sprinkles water on the corn and on the threshing-floor, expressing at the same time a wish that the corn may last long. Lastly, the farmer’s wife holds the pitcher slantingly and runs at full speed round the stack without spilling a drop, while she utters a wish that the stack may endure as long as the circle she has just described.(704) At the spring ploughing in Prussia, when the ploughmen and sowers returned in the evening from their work in the fields, the farmer’s wife and the servants used to splash water over them. The ploughmen and sowers retorted by seizing every one, throwing them into the pond, and ducking them under the water. The farmer’s wife might claim exemption on payment of a forfeit, but every one else had to be ducked. By observing this custom they hoped to ensure a due supply of rain for the seed.(705) Also after harvest in Prussia, the person who wore a wreath made of the last corn cut was drenched with water, while a prayer was uttered that “as the corn had sprung up and multiplied through the water, so it might spring up and multiply in the barn and granary.”(706) At Schlanow, in Brandenburg, when the sowers return home from the first sowing they are drenched with water “in order that the corn may grow.”(707) In Anhalt on the same occasion the farmer is still often sprinkled with water by his family; and his men and horses, and even the plough, receive the same treatment. The object of the custom, as people at Arensdorf explained it, is “to wish fertility to the fields for the whole year.”(708) So in Hesse, when the ploughmen return with the plough from the field for the first time, the women and girls lie in wait for them and slyly drench them with water.(709) Near Naaburg, in Bavaria, the man who first comes back from sowing or ploughing has a vessel of water thrown over him by some one in hiding.(710) At Hettingen in Baden the farmer who is about to begin the sowing of oats is sprinkled with water, in order that the oats may not shrivel up.(711) Before the Tusayan Indians of North America go out to plant their fields, the women sometimes pour water on them; the reason for doing so is that “as the water is poured on the men, so may water fall on the planted fields.”(712) The Indians of Santiago Tepehuacan steep the seed of the maize in water before they sow it, in order that the god of the waters may bestow on the fields the needed moisture.(713)

(M183) The opinion that the gardens of Adonis are essentially charms to promote the growth of vegetation, especially of the crops, and that they belong to the same class of customs as those spring and midsummer folk-customs of modern Europe which I have described elsewhere,(714) does not rest for its evidence merely on the intrinsic probability of the case. Fortunately we are able to show that gardens of Adonis (if we may use the expression in a general sense) are still planted, first, by a primitive race at their sowing season, and, second, by European peasants at midsummer. Amongst the Oraons and Mundas of Bengal, when the time comes for planting out the rice which has been grown in seed-beds, a party of young people of both sexes go to the forest and cut a young Karma-tree, or the branch of one. Bearing it in triumph they return dancing, singing, and beating drums, and plant it in the middle of the village dancing-ground. A sacrifice is offered to the tree; and next morning the youth of both sexes, linked arm-in-arm, dance in a great circle round the Karma-tree, which is decked with strips of coloured cloth and sham bracelets and necklets of plaited straw. As a preparation for the festival, the daughters of the headman of the village cultivate blades of barley in a peculiar way. The seed is sown in moist, sandy soil, mixed with turmeric, and the blades sprout and unfold of a pale-yellow or primrose colour. On the day of the festival the girls take up these blades and carry them in baskets to the dancing-ground, where, prostrating themselves reverentially, they place some of the plants before the Karma-tree. Finally, the Karma-tree is taken away and thrown into a stream or tank.(715) The meaning of planting these barley blades and then presenting them to the Karma-tree is hardly open to question. Trees are supposed to exercise a quickening influence upon the growth of crops, and amongst the very people in question—the Mundas or Mundaris—“the grove deities are held responsible for the crops.”(716) Therefore, when at the season for planting out the rice the Mundas bring in a tree and treat it with so much respect, their object can only be to foster thereby the growth of the rice which is about to be planted out; and the custom of causing barley blades to sprout rapidly and then presenting them to the tree must be intended to subserve the same purpose, perhaps by reminding the tree-spirit of his duty towards the crops, and stimulating his activity by this visible example of rapid vegetable growth. The throwing of the Karma-tree into the water is to be interpreted as a rain-charm. Whether the barley blades are also thrown into the water is not said; but if my interpretation of the custom is right, probably they are so. A distinction between this Bengal custom and the Greek rites of Adonis is that in the former the tree-spirit appears in his original form as a tree; whereas in the Adonis worship he appears in human form, represented as a dead man, though his vegetable nature is indicated by the gardens of Adonis, which are, so to say, a secondary manifestation of his original power as a tree-spirit.

(M184) Gardens of Adonis are cultivated also by the Hindoos, with the intention apparently of ensuring the fertility both of the earth and of mankind. Thus at Oodeypoor in Rajputana a festival is held “in honour of Gouri, or Isani, the goddess of abundance, the Isis of Egypt, the Ceres of Greece. Like the Rajpoot Saturnalia, which it follows, it belongs to the vernal equinox, when nature in these regions proximate to the tropic is in the full expanse of her charms, and the matronly Gouri casts her golden mantle over the verdant Vassanti, personification of spring. Then the fruits exhibit their promise to the eye; the kohil fills the ear with melody; the air is impregnated with aroma, and the crimson poppy contrasts with the spikes of golden grain to form a wreath for the beneficent Gouri. Gouri is one of the names of Isa or Parvati, wife of the greatest of the gods, Mahadeva or Iswara, who is conjoined with her in these rites, which almost exclusively appertain to the women. The meaning of _gouri_ is ‘yellow,’ emblematic of the ripened harvest, when the votaries of the goddess adore her effigies, which are those of a matron painted the colour of ripe corn.” The rites begin when the sun enters the sign of the Ram, the opening of the Hindoo year. An image of the goddess Gouri is made of earth, and a smaller one of her husband Iswara, and the two are placed together. A small trench is next dug, barley is sown in it, and the ground watered and heated artificially till the grain sprouts, when the women dance round it hand in hand, invoking the blessing of Gouri on their husbands. After that the young corn is taken up and distributed by the women to the men, who wear it in their turbans. Every wealthy family, or at least every subdivision of the city, has its own image. These and other rites, known only to the initiated, occupy several days, and are performed within doors. Then the images of the goddess and her husband are decorated and borne in procession to a beautiful lake, whose deep blue waters mirror the cloudless Indian sky, marble palaces, and orange groves. Here the women, their hair decked with roses and jessamine carry the image of Gouri down a marble staircase to the water’s edge, and dance round it singing hymns and love-songs. Meantime the goddess is supposed to bathe in the water. No men take part in the ceremony; even the image of Iswara, the husband-god, attracts little attention.(717) In these rites the distribution of the barley shoots to the men, and the invocation of a blessing on their husbands by the wives, point clearly to the desire of offspring as one motive for observing the custom. The same motive probably explains the use of gardens of Adonis at the marriage of Brahmans in the Madras Presidency. Seeds of five or nine sorts are mixed and sown in earthen pots, which are made specially for the purpose and are filled with earth. Bride and bridegroom water the seeds both morning and evening for four days; and on the fifth day the seedlings are thrown, like the real gardens of Adonis, into a tank or river.(718)

(M185) In the Himalayan districts of North-Western India the cultivators sow barley, maize, pulse, or mustard in a basket of earth on the twenty-fourth day of the fourth month (_Asárh_), which falls about the middle of July. Then on the last day of the month they place amidst the new sprouts small clay images of Mahadeo and Parvati and worship them in remembrance of the marriage of those deities. Next day they cut down the green stalks and wear them in their head-dress.(719) Similar is the barley feast known as Jâyî or Jawâra in Upper India and as Bhujariya in the Central Provinces. On the seventh day of the light half of the month Sâwan grains of barley are sown in a pot of manure, and spring up so quickly that by the end of the month the vessel is full of long, yellowish-green stalks. On the first day of the next month, Bhâdon, the women and girls take the stalks out, throw the earth and manure into water, and distribute the plants among their male friends, who bind them in their turbans and about their dress.(720) At Sargal in the Central Provinces of India this ceremony is observed about the middle of September. None but women may take part in it, though crowds of men come to look on. Some little time before the festival wheat or other grain has been sown in pots ingeniously constructed of large leaves, which are held together by the thorns of a species of acacia. Having grown up in the dark, the stalks are of a pale colour. On the day appointed these gardens of Adonis, as we may call them, are carried towards a lake which abuts on the native city. The women of every family or circle of friends bring their own pots, and having laid them on the ground they dance round them. Then taking the pots of sprouting corn they descend to the edge of the water, wash the soil away from the pots, and distribute the young plants among their friends.(721) At the temple of the goddess Padmavati, near Pandharpur in the Bombay Presidency, a Nine Nights’ festival is held in the bright half of the month Ashvin (September-October). At this time a bamboo frame is hung in front of the image, and from it depend garlands of flowers and strings of wheaten cakes. Under the frame the floor in front of the pedestal is strewn with a layer of earth in which wheat is sown and allowed to sprout.(722) A similar rite is observed in the same month before the images of two other goddesses, Ambabai and Lakhubai, who also have temples at Pandharpur.(723)

(M186) In some parts of Bavaria it is customary to sow flax in a pot on the last three days of the Carnival; from the seed which grows best an omen is drawn as to whether the early, the middle, or the late sowing will produce the best crop.(724) In Sardinia the gardens of Adonis are still planted in connexion with the great Midsummer festival which bears the name of St. John. At the end of March or on the first of April a young man of the village presents himself to a girl, and asks her to be his _comare_ (gossip or sweetheart), offering to be her _compare_. The invitation is considered as an honour by the girl’s family, and is gladly accepted. At the end of May the girl makes a pot of the bark of the cork-tree, fills it with earth, and sows a handful of wheat and barley in it. The pot being placed in the sun and often watered, the corn sprouts rapidly and has a good head by Midsummer Eve (St. John’s Eve, the twenty-third of June). The pot is then called _Erme_ or _Nenneri_. On St. John’s Day the young man and the girl, dressed in their best, accompanied by a long retinue and preceded by children gambolling and frolicking, move in procession to a church outside the village. Here they break the pot by throwing it against the door of the church. Then they sit down in a ring on the grass and eat eggs and herbs to the music of flutes. Wine is mixed in a cup and passed round, each one drinking as it passes. Then they join hands and sing “Sweethearts of St. John” (_Compare e comare di San Giovanni_) over and over again, the flutes playing the while. When they tire of singing they stand up and dance gaily in a ring till evening. This is the general Sardinian custom. As practised at Ozieri it has some special features. In May the pots are made of cork-bark and planted with corn, as already described. Then on the Eve of St. John the window-sills are draped with rich cloths, on which the pots are placed, adorned with crimson and blue silk and ribbons of various colours. On each of the pots they used formerly to place a statuette or cloth doll dressed as a woman, or a Priapus-like figure made of paste; but this custom, rigorously forbidden by the Church, has fallen into disuse. The village swains go about in a troop to look at the pots and their decorations and to wait for the girls, who assemble on the public square to celebrate the festival. Here a great bonfire is kindled, round which they dance and make merry. Those who wish to be “Sweethearts of St. John” act as follows. The young man stands on one side of the bonfire and the girl on the other, and they, in a manner, join hands by each grasping one end of a long stick, which they pass three times backwards and forwards across the fire, thus thrusting their hands thrice rapidly into the flames. This seals their relationship to each other. Dancing and music go on till late at night.(725) The correspondence of these Sardinian pots of grain to the gardens of Adonis seems complete, and the images formerly placed in them answer to the images of Adonis which accompanied his gardens.

(M187) Customs of the same sort are observed at the same season in Sicily. Pairs of boys and girls become gossips of St. John on St. John’s Day by drawing each a hair from his or her head and performing various ceremonies over them. Thus they tie the hairs together and throw them up in the air, or exchange them over a potsherd, which they afterwards break in two, preserving each a fragment with pious care. The tie formed in the latter way is supposed to last for life. In some parts of Sicily the gossips of St. John present each other with plates of sprouting corn, lentils, and canary seed, which have been planted forty days before the festival. The one who receives the plate pulls a stalk of the young plants, binds it with a ribbon, and preserves it among his or her greatest treasures, restoring the platter to the giver. At Catania the gossips exchange pots of basil and great cucumbers; the girls tend the basil, and the thicker it grows the more it is prized.(726)

(M188) In these midsummer customs of Sardinia and Sicily it is possible that, as Mr. R. Wünsch supposes,(727) St. John has replaced Adonis. We have seen that the rites of Tammuz or Adonis were commonly celebrated about midsummer; according to Jerome, their date was June.(728) And besides their date and their similarity in respect of the pots of herbs and corn, there is another point of affinity between the two festivals, the heathen and the Christian. In both of them water plays a prominent part. At his midsummer festival in Babylon the image of Tammuz, whose name is said to mean “true son of the deep water,” was bathed with pure water: at his summer festival in Alexandria the image of Adonis, with that of his divine mistress Aphrodite, was committed to the waves; and at the midsummer celebration in Greece the gardens of Adonis were thrown into the sea or into springs. Now a great feature of the midsummer festival associated with the name of St. John is, or used to be, the custom of bathing in the sea, springs, rivers, or the dew on Midsummer Eve or the morning of Midsummer Day. Thus, for example, at Naples there is a church dedicated to St. John the Baptist under the name of St. John of the Sea (_S. Giovan a mare_); and it was an old practice for men and women to bathe in the sea on St. John’s Eve, that is, on Midsummer Eve, believing that thus all their sins were washed away.(729) In the Abruzzi water is still supposed to acquire certain marvellous and beneficent properties on St. John’s Night. They say that on that night the sun and moon bathe in the water. Hence many people take a bath in the sea or in a river at that season, especially at the moment of sunrise. At Castiglione a Casauria they go before sunrise to the Pescara River or to springs, wash their faces and hands, then gird themselves with twigs of bryony (_vitalba_) and twine the plant round their brows, in order that they may be free from pains. At Pescina boys and girls wash each other’s faces in a river or a spring, then exchange kisses, and become gossips. The dew, also, that falls on St. John’s Night is supposed in the Abruzzi to benefit whatever it touches, whether it be water, flowers, or the human body. For that reason people put out vessels of water on the window-sills or the terraces, and wash themselves with the water in the morning in order to purify themselves and escape headaches and colds. A still more efficacious mode of accomplishing the same end is to rise at the peep of dawn, to wet the hands in the dewy grass, and then to rub the moisture on the eyelids, the brow, and the temples, because the dew is believed to cure maladies of the head and eyes. It is also a remedy for diseases of the skin. Persons who are thus afflicted should roll on the dewy grass. When patients are prevented by their infirmity or any other cause from quitting the house, their friends will gather the dew in sheets or tablecloths and so apply it to the suffering part.(730) At Marsala in Sicily there is a spring of water in a subterranean grotto called the Grotto of the Sibyl. Beside it stands a church of St. John, which has been supposed to occupy the site of a temple of Apollo. On St. John’s Eve, the twenty-third of June, women and girls visit the grotto, and by drinking of the prophetic water learn whether their husbands have been faithful to them in the year that is past, or whether they themselves will wed in the year that is to come. Sick people, too, imagine that by bathing in the water, drinking of it, or ducking thrice in it in the name of the Trinity, they will be made whole.(731) At Chiaramonte in Sicily the following custom is observed on St. John’s Eve. The men repair to one fountain and the women to another, and dip their heads thrice in the water, repeating at each ablution certain verses in honour of St. John. They believe that this is a cure or preventive of the scald.(732) When Petrarch visited Cologne, he chanced to arrive in the town on St. John’s Eve. The sun was nearly setting, and his host at once led him to the Rhine. A strange sight there met his eyes, for the banks of the river were covered with pretty women. The crowd was great but good-humoured. From a rising ground on which he stood the poet saw many of the women, girt with fragrant herbs, kneel down on the water’s edge, roll their sleeves up above their elbows, and wash their white arms and hands in the river, murmuring softly some words which the Italian did not understand. He was told that the custom was a very old one, much honoured in the observance; for the common folk, especially the women, believed that to wash in the river on St. John’s Eve would avert every misfortune in the coming year.(733) On St. John’s Eve the people of Copenhagen used to go on pilgrimage to a neighbouring spring, there to heal and strengthen themselves in the water.(734) In Spain people still bathe in the sea or roll naked in the dew of the meadows on St. John’s Eve, believing that this is a sovereign preservative against diseases of the skin.(735) To roll in the dew on the morning of St. John’s Day is also esteemed a cure for diseases of the skin in Normandy and Perigord. In Perigord a field of hemp is especially recommended for the purpose, and the patient should rub himself with the plants on which he has rolled.(736) At Ciotat in Provence, while the midsummer bonfire blazed, young people used to plunge into the sea and splash each other vigorously. At Vitrolles they bathed in a pond in order that they might not suffer from fever during the year, and at Saint-Maries they watered the horses to protect them from the itch.(737) A custom of drenching people on this occasion with water formerly prevailed in Toulon, Marseilles, and other towns of the south of France. The water was squirted from syringes, poured on the heads of passers-by from windows, and so forth.(738) From Europe the practice of bathing in rivers and springs on St. John’s Day appears to have passed with the Spaniards to the New World.(739)

(M189) It may perhaps be suggested that this wide-spread custom of bathing in water or dew on Midsummer Eve or Midsummer Day is purely Christian in origin, having been adopted as an appropriate mode of celebrating the day dedicated to the Baptist. But in point of fact the custom is older than Christianity, for it was denounced and forbidden as a heathen practice by Augustine,(740) and to this day it is practised at midsummer by the Mohammedan peoples of North Africa.(741) We may conjecture that the Church, unable to put down this relic of paganism, followed its usual policy of accommodation by bestowing on the rite of a Christian name and acquiescing, with a sigh, in its observance. And casting about for a saint to supplant a heathen patron of bathing, the Christian doctors could hardly have hit upon a more appropriate successor than St. John the Baptist.

(M190) But into whose shoes did the Baptist step? Was the displaced deity really Adonis, as the foregoing evidence seems to suggest? In Sardinia and Sicily it may have been so, for in these islands Semitic influence was certainly deep and probably lasting. The midsummer pastimes of Sardinian and Sicilian children may therefore be a direct continuation of the Carthaginian rites of Tammuz. Yet the midsummer festival seems too widely spread and too deeply rooted in Central and Northern Europe to allow us to trace it everywhere to an Oriental origin in general and to the cult of Adonis in particular. It has the air of a native of the soil rather than of an exotic imported from the East. We shall do better, therefore, to suppose that at a remote period similar modes of thought, based on similar needs, led men independently in many distant lands, from the North Sea to the Euphrates, to celebrate the summer solstice with rites which, while they differed in some things, yet agreed closely in others; that in historical times a wave of Oriental influence, starting perhaps from Babylonia, carried the Tammuz or Adonis form of the festival westward till it met with native forms of a similar festival; and that under pressure of the Roman civilization these different yet kindred festivals fused with each other and crystallized into a variety of shapes, which subsisted more or less separately side by side, till the Church, unable to suppress them altogether, stripped them so far as it could of their grosser features, and dexterously changing the names allowed them to pass muster as Christian. And what has just been said of the midsummer festivals probably applies, with the necessary modifications, to the spring festivals also. They, too, seem to have originated independently in Europe and the East, and after ages of separation to have amalgamated under the sway of the Roman Empire and the Christian Church. In Syria, as we have seen, there appears to have been a vernal celebration of Adonis; and we shall presently meet with an undoubted instance of an Oriental festival of spring in the rites of Attis. Meantime we must return for a little to the midsummer festival which goes by the name of St. John.

(M191) The Sardinian practice of making merry round a great bonfire on St. John’s Eve is an instance of a custom which has been practised at the midsummer festival from time immemorial in many parts of Europe. That custom has been more fully dealt with by me elsewhere.(742) The instances which I have cited in other parts of this work seem to indicate a connexion of the midsummer bonfire with vegetation. For example, both in Sweden and Bohemia an essential part of the festival is the raising of a May-pole or Midsummer-tree, which in Bohemia is burned in the bonfire.(743) Again, in a Russian midsummer ceremony a straw figure of Kupalo, the representative of vegetation, is placed beside a May-pole or Midsummer-tree and then carried to and fro across a bonfire.(744) Kupalo is here represented in duplicate, in tree-form by the Midsummer-tree, and in human form by the straw effigy, just as Adonis was represented both by an image and a garden of Adonis; and the duplicate representatives of Kupalo, like those of Adonis, are finally cast into water. In the Sardinian and Sicilian customs the Gossips or Sweethearts of St. John probably answer, on the one hand to Adonis and Astarte, on the other to the King and Queen of May. In the Swedish province of Blekinge part of the midsummer festival is the election of a Midsummer Bride, who chooses her bridegroom; a collection is made for the pair, who for the time being are looked upon as man and wife.(745) Such Midsummer pairs may be supposed, like the May pairs, to stand for the powers of vegetation or of fertility in general: they represent in flesh and blood what the images of Siva or Mahadeo and Parvati in the Indian ceremonies, and the images of Adonis and Aphrodite in the Alexandrian ceremony, set forth in effigy.

(M192) The reason why ceremonies whose aim is to foster the growth of vegetation should thus be associated with bonfires; why in particular the representative of vegetation should be burned in the likeness of a tree, or passed across the fire in effigy or in the form of a living couple, has been discussed by me elsewhere.(746) Here it is enough to have adduced evidence of such association, and therefore to have obviated the objection which might have been raised to my theory of the Sardinian custom, on the ground that the bonfires have nothing to do with vegetation. One more piece of evidence may here be given to prove the contrary. In some parts of Germany and Austria young men and girls leap over midsummer bonfires for the express purpose of making the hemp or flax grow tall.(747) We may, therefore, assume that in the Sardinian custom the blades of wheat and barley which are forced on in pots for the midsummer festival, and which correspond so closely to the gardens of Adonis, form one of those widely-spread midsummer ceremonies, the original object of which was to promote the growth of vegetation, and especially of the crops. But as, by an easy extension of ideas, the spirit of vegetation was believed to exercise a beneficent and fertilizing influence on human as well as animal life, the gardens of Adonis would be supposed, like the May-trees or May-boughs, to bring good luck, and more particularly perhaps offspring,(748) to the family or to the person who planted them; and even after the idea had been abandoned that they operated actively to confer prosperity, they might still be used to furnish omens of good or evil. It is thus that magic dwindles into divination. Accordingly we find modes of divination practised at midsummer which resemble more or less closely the gardens of Adonis. Thus an anonymous Italian writer of the sixteenth century has recorded that it was customary to sow barley and wheat a few days before the festival of St. John (Midsummer Day) and also before that of St. Vitus; and it was believed that the person for whom they were sown would be fortunate, and get a good husband or a good wife, if the grain sprouted well; but if it sprouted ill, he or she would be unlucky.(749) In various parts of Italy and all over Sicily it is still customary to put plants in water or in earth on the Eve of St. John, and from the manner in which they are found to be blooming or fading on St. John’s Day omens are drawn, especially as to fortune in love. Amongst the plants used for this purpose are _Ciuri di S. Giuvanni_ (St. John’s wort?) and nettles.(750) In Prussia two hundred years ago the farmers used to send out their servants, especially their maids, to gather St. John’s wort on Midsummer Eve or Midsummer Day (St. John’s Day). When they had fetched it, the farmer took as many plants as there were persons and stuck them in the wall or between the beams; and it was thought that he or she whose plant did not bloom would soon fall sick or die. The rest of the plants were tied in a bundle, fastened to the end of a pole, and set up at the gate or wherever the corn would be brought in at the next harvest. The bundle was called _Kupole_: the ceremony was known as Kupole’s festival; and at it the farmer prayed for a good crop of hay, and so forth.(751) This Prussian custom is particularly notable, inasmuch as it strongly confirms the opinion that Kupalo (doubtless identical with Kupole) was originally a deity of vegetation.(752) For here Kupalo is represented by a bundle of plants specially associated with midsummer in folk-custom; and her influence over vegetation is plainly signified by placing her vegetable emblem over the place where the harvest is brought in, as well as by the prayers for a good crop which are uttered on the occasion. This furnishes a fresh argument in support of the view that the Death, whose analogy to Kupalo, Yarilo, and the rest I have shown elsewhere, originally personified vegetation, more especially the dying or dead vegetation of winter.(753) Further, my interpretation of the gardens of Adonis is confirmed by finding that in this Prussian custom the very same kind of plants is used to form the gardens of Adonis (as we may call them) and the image of the deity. Nothing could set in a stronger light the truth of the theory that the gardens of Adonis are merely another manifestation of the god himself.

(M193) In Sicily gardens of Adonis are still sown in spring as well as in summer, from which we may perhaps infer that Sicily as well as Syria celebrated of old a vernal festival of the dead and risen god. At the approach of Easter, Sicilian women sow wheat, lentils, and canary-seed in plates, which they keep in the dark and water every two days. The plants soon shoot up; the stalks are tied together with red ribbons, and the plates containing them are placed on the sepulchres which, with the effigies of the dead Christ, are made up in Catholic and Greek churches on Good Friday,(754) just as the gardens of Adonis were placed on the grave of the dead Adonis.(755) The practice is not confined to Sicily, for it is observed also at Cosenza in Calabria,(756) and perhaps in other places. The whole custom—sepulchres as well as plates of sprouting grain—may be nothing but a continuation, under a different name, of the worship of Adonis.

(M194) Nor are these Sicilian and Calabrian customs the only Easter ceremonies which resemble the rites of Adonis. “During the whole of Good Friday a waxen effigy of the dead Christ is exposed to view in the middle of the Greek churches and is covered with fervent kisses by the thronging crowd, while the whole church rings with melancholy, monotonous dirges. Late in the evening, when it has grown quite dark, this waxen image is carried by the priests into the street on a bier adorned with lemons, roses, jessamine, and other flowers, and there begins a grand procession of the multitude, who move in serried ranks, with slow and solemn step, through the whole town. Every man carries his taper and breaks out into doleful lamentation. At all the houses which the procession passes there are seated women with censers to fumigate the marching host. Thus the community solemnly buries its Christ as if he had just died. At last the waxen image is again deposited in the church, and the same lugubrious chants echo anew. These lamentations, accompanied by a strict fast, continue till midnight on Saturday. As the clock strikes twelve, the bishop appears and announces the glad tidings that ‘Christ is risen,’ to which the crowd replies, ‘He is risen indeed,’ and at once the whole city bursts into an uproar of joy, which finds vent in shrieks and shouts, in the endless discharge of carronades and muskets, and the explosion of fire-works of every sort. In the very same hour people plunge from the extremity of the fast into the enjoyment of the Easter lamb and neat wine.”(757)

(M195) In like manner the Catholic Church has been accustomed to bring before its followers in a visible form the death and resurrection of the Redeemer. Such sacred dramas are well fitted to impress the lively imagination and to stir the warm feelings of a susceptible southern race, to whom the pomp and pageantry of Catholicism are more congenial than to the colder temperament of the Teutonic peoples. The solemnities observed in Sicily on Good Friday, the official anniversary of the Crucifixion, are thus described by a native Sicilian writer. “A truly moving ceremony is the procession which always takes place in the evening in every commune of Sicily, and further the Deposition from the Cross. The brotherhoods took part in the procession, and the rear was brought up by a great many boys and girls representing saints, both male and female, and carrying the emblems of Christ’s Passion. The Deposition from the Cross was managed by the priests. The coffin with the dead Christ in it was flanked by Jews armed with swords, an object of horror and aversion in the midst of the profound pity excited by the sight not only of Christ but of the Mater Dolorosa, who followed behind him. Now and then the ‘mysteries’ or symbols of the Crucifixion went in front. Sometimes the procession followed the ‘three hours of agony’ and the ‘Deposition from the Cross.’ The ‘three hours’ commemorated those which Jesus Christ passed upon the Cross. Beginning at the eighteenth and ending at the twenty-first hour of Italian time two priests preached alternately on the Passion. Anciently the sermons were delivered in the open air on the place called the Calvary: at last, when the third hour was about to strike, at the words _emisit spiritum_ Christ died, bowing his head amid the sobs and tears of the bystanders. Immediately afterwards in some places, three hours afterwards in others, the sacred body was unnailed and deposited in the coffin. In Castronuovo, at the Ave Maria, two priests clad as Jews, representing Joseph of Arimathea and Nicodemus, with their servants in costume, repaired to the Calvary, preceded by the Company of the Whites. There, with doleful verses and chants appropriate to the occasion, they performed the various operations of the Deposition, after which the procession took its way to the larger church.... In Salaparuta the Calvary is erected in the church. At the preaching of the death, the Crucified is made to bow his head by means of machinery, while guns are fired, trumpets sound, and amid the silence of the people, impressed by the death of the Redeemer, the strains of a melancholy funeral march are heard. Christ is removed from the Cross and deposited in the coffin by three priests. After the procession of the dead Christ the burial is performed, that is, two priests lay Christ in a fictitious sepulchre, from which at the mass of Easter Saturday the image of the risen Christ issues and is elevated upon the altar by means of machinery.”(758) Scenic representations of the same sort, with variations of detail, are exhibited at Easter in the Abruzzi,(759) and probably in many other parts of the Catholic world.(760)

(M196) When we reflect how often the Church has skilfully contrived to plant the seeds of the new faith on the old stock of paganism, we may surmise that the Easter celebration of the dead and risen Christ was grafted upon a similar celebration of the dead and risen Adonis, which, as we have seen reason to believe, was celebrated in Syria at the same season. The type, created by Greek artists, of the sorrowful goddess with her dying lover in her arms, resembles and may have been the model of the _Pietà_ of Christian art, the Virgin with the dead body of her divine Son in her lap, of which the most celebrated example is the one by Michael Angelo in St. Peter’s. That noble group, in which the living sorrow of the mother contrasts so wonderfully with the languor of death in the son, is one of the finest compositions in marble. Ancient Greek art has bequeathed to us few works so beautiful, and none so pathetic.(761)

(M197) In this connexion a well-known statement of Jerome may not be without significance. He tells us that Bethlehem, the traditionary birthplace of the Lord, was shaded by a grove of that still older Syrian Lord, Adonis, and that where the infant Jesus had wept, the lover of Venus was bewailed.(762) Though he does not expressly say so, Jerome seems to have thought that the grove of Adonis had been planted by the heathen after the birth of Christ for the purpose of defiling the sacred spot. In this he may have been mistaken. If Adonis was indeed, as I have argued, the spirit of the corn, a more suitable name for his dwelling-place could hardly be found than Bethlehem, “the House of Bread,”(763) and he may well have been worshipped there at his House of Bread long ages before the birth of Him who said, “I am the bread of life.”(764) Even on the hypothesis that Adonis followed rather than preceded Christ at Bethlehem, the choice of his sad figure to divert the allegiance of Christians from their Lord cannot but strike us as eminently appropriate when we remember the similarity of the rites which commemorated the death and resurrection of the two. One of the earliest seats of the worship of the new god was Antioch, and at Antioch, as we have seen,(765) the death of the old god was annually celebrated with great solemnity. A circumstance which attended the entrance of Julian into the city at the time of the Adonis festival may perhaps throw some light on the date of its celebration. When the emperor drew near to the city he was received with public prayers as if he had been a god, and he marvelled at the voices of a great multitude who cried that the Star of Salvation had dawned upon them in the East.(766) This may doubtless have been no more than a fulsome compliment paid by an obsequious Oriental crowd to the Roman emperor. But it is also possible that the rising of a bright star regularly gave the signal for the festival, and that as chance would have it the star emerged above the rim of the eastern horizon at the very moment of the emperor’s approach. The coincidence, if it happened, could hardly fail to strike the imagination of a superstitious and excited multitude, who might thereupon hail the great man as the deity whose coming was announced by the sign in the heavens. Or the emperor may have mistaken for a greeting to himself the shouts which were addressed to the star. Now Astarte, the divine mistress of Adonis, was identified with the planet Venus, and her changes from a morning to an evening star were carefully noted by the Babylonian astronomers, who drew omens from her alternate appearance and disappearance.(767) Hence we may conjecture that the festival of Adonis was regularly timed to coincide with the appearance of Venus as the Morning or Evening Star. But the star which the people of Antioch saluted at the festival was seen in the East; therefore, if it was indeed Venus, it can only have been the Morning Star. At Aphaca in Syria, where there was a famous temple of Astarte, the signal for the celebration of the rites was apparently given by the flashing of a meteor, which on a certain day fell like a star from the top of Mount Lebanon into the river Adonis. The meteor was thought to be Astarte herself,(768) and its flight through the air might naturally be interpreted as the descent of the amorous goddess to the arms of her lover. At Antioch and elsewhere the appearance of the Morning Star on the day of the festival may in like manner have been hailed as the coming of the goddess of love to wake her dead leman from his earthy bed. If that were so, we may surmise that it was the Morning Star which guided the wise men of the East to Bethlehem,(769) the hallowed spot which heard, in the language of Jerome, the weeping of the infant Christ and the lament for Adonis.

BOOK SECOND. ATTIS.