Custom and Myth

In each case, he holds, all the circumstances of the case must be examined and considered. For instance, when the Australians tell a myth about the Pleiades very like the Greek myth of the Pleiades, we must ask a number of questions. Is the Australian version authentic? Can the people who told it have heard it from a European? If these questions are answered so as to make it apparent that the Australian Pleiad myth is of genuine native origin, we need not fly to the conclusion that the Australians are a lost and forlorn branch of the Aryan race. Two other hypotheses present themselves. First, the human species is of unknown antiquity. In the moderate allowance of 250,000 years, there is time for stories to have wandered all round the world, as the Aggry beads of Ashanti have probably crossed the continent from Egypt, as the Asiatic jade (if Asiatic it be) has arrived in Swiss lake-dwellings, as an African trade-cowry is said to have been found in a Cornish barrow, as an Indian Ocean shell has been discovered in a prehistoric bone-cave in Poland. This slow filtration of tales is not absolutely out of the question. Two causes would especially help to transmit myths. The first is slavery and slave-stealing, the second is the habit of capturing brides from alien stocks, and the law which forbids marriage with a woman of a man’s own family. Slaves and captured brides would bring their native legends among alien peoples.

But there is another possible way of explaining the resemblance (granting that it is proved) of the Greek and Australian Pleiad myth. The object of both myths is to account for the grouping and other phenomena of the constellations. May not similar explanatory stories have occurred to the ancestors of the Australians, and to the ancestors of the Greeks, however remote their home, while they were still in the savage condition? The best way to investigate this point is to collect all known savage and civilised stellar myths, and see what points they have in common. If they all agree in character, though the Greek tales are full of grace, while those of the Australians or Brazilians are rude enough, we may plausibly account for the similarity of myths, as we accounted for the similarity of flint arrow-heads. The myths, like the arrow-heads, resemble each other because they were originally framed to meet the same needs out of the same material. In the case of the arrow-heads, the need was for something hard, heavy, and sharp – the material was flint. In the case of the myths, the need was to explain certain phenomena – the material (so to speak) was an early state of the human mind, to which all objects seemed equally endowed with human personality, and to which no metamorphosis appeared impossible.

In the following essays, then, the myths and customs of various peoples will be compared, even when these peoples talk languages of alien families, and have never (as far as history shows us) been in actual contact. Our method throughout will be to place the usage, or myth, which is unintelligible when found among a civilised race, beside the similar myth which is intelligible enough when it is found among savages. A mean term will be found in the folklore preserved by the non-progressive classes in a progressive people. This folklore represents, in the midst of a civilised race, the savage ideas out of which civilisation has been evolved. The conclusion will usually be that the fact which puzzles us by its presence in civilisation is a relic surviving from the time when the ancestors of a civilised race were in the state of savagery. By this method it is not necessary that ‘some sort of genealogy should be established’ between the Australian and the Greek narrators of a similar myth, nor between the Greek and Australian possessors of a similar usage. The hypothesis will be that the myth, or usage, is common to both races, not because of original community of stock, not because of contact and borrowing, but because the ancestors of the Greeks passed through the savage intellectual condition in which we find the Australians.

The questions may be asked, Has race nothing, then, to do with myth? Do peoples never consciously borrow myths from each other? The answer is, that race has a great deal to do with the development of myth, if it be race which confers on a people its national genius, and its capacity of becoming civilised. If race does this, then race affects, in the most powerful manner, the ultimate development of myth. No one is likely to confound a Homeric myth with a myth from the Edda, nor either with a myth from a Brahmana, though in all three cases the substance, the original set of ideas, may be much the same. In all three you have anthropomorphic gods, capable of assuming animal shapes, tricky, capricious, limited in many undivine ways, yet endowed with magical powers. So far the mythical gods of Homer, of the Edda, of any of the Brahmanas, are on a level with each other, and not much above the gods of savage mythology. This stuff of myth is quod semper, quod ubique, quod ab omnibus, and is the original gift of the savage intellect. But the final treatment, the ultimate literary form of the myth, varies in each race. Homeric gods, like Red Indian, Thlinkeet, or Australian gods, can assume the shapes of birds. But when we read, in Homer, of the arming of Athene, the hunting of Artemis, the vision of golden Aphrodite, the apparition of Hermes, like a young man when the flower of youth is loveliest, then we recognise the effect of race upon myth, the effect of the Greek genius at work on rude material. Between the Olympians and a Thlinkeet god there is all the difference that exists between the Demeter of Cnidos and an image from Easter Island. Again, the Scandinavian gods, when their tricks are laid aside, when Odin is neither assuming the shape of worm nor of raven, have a martial dignity, a noble enduring spirit of their own. Race comes out in that, as it does in the endless sacrifices, soma drinking, magical austerities, and puerile follies of Vedic and Brahmanic gods, the deities of a people fallen early into its sacerdotage and priestly second childhood. Thus race declares itself in the ultimate literary form and character of mythology, while the common savage basis and stuff of myths may be clearly discerned in the horned, and cannibal, and shape-shifting, and adulterous gods of Greece, of India, of the North. They all show their common savage origin, when the poet neglects Freya’s command and tells of what the gods did ‘in the morning of Time.’

As to borrowing, we have already shown that in prehistoric times there must have been much transmission of myth. The migrations of peoples, the traffic in slaves, the law of exogamy, which always keeps bringing alien women into the families – all these things favoured the migration of myth. But the process lies behind history: we can only guess at it, we can seldom trace a popular legend on its travels. In the case of the cultivated ancient peoples, we know that they themselves believed they had borrowed their religions from each other. When the Greeks first found the Egyptians practising mysteries like their own, they leaped to the conclusion that their own rites had been imported from Egypt. We, who know that both Greek and Egyptian rites had many points in common with those of Mandans, Zunis, Bushmen, Australians – people quite unconnected with Egypt – feel less confident about the hypothesis of borrowing. We may, indeed, regard Adonis, and Zeus Bagæus, and Melicertes, as importations from Phœnicia. In later times, too, the Greeks, and still more the Romans, extended a free hospitality to alien gods and legends, to Serapis, Isis, the wilder Dionysiac revels, and so forth. But this habit of borrowing was regarded with disfavour by pious conservatives, and was probably, in the width of its hospitality at least, an innovation. As Tiele remarks, we cannot derive Dionysus from the Assyrian Daian nisi, ‘judge of men,’ a name of the solar god Samas, without ascertaining that the wine-god exercised judicial functions, and was a god of the sun. These derivations, ‘shocking to common sense,’ are to be distrusted as part of the intoxication of new learning. Some Assyrian scholars actually derive Hades from Bit Edi or Bit Hadi– ‘though, unluckily,’ says Tiele, ‘there is no such word in the Assyrian text.’ On the whole topic Tiele’s essay [11 - Rev. de l’Hist. des Rel., vol. ii.] deserves to be consulted. Granting, then, that elements in the worship of Dionysus, Aphrodite, and other gods, may have been imported with the strange Ægypto-Assyrian vases and jewels of the Sidonians, we still find the same basis of rude savage ideas. We may push back a god from Greece to Phœnicia, from Phœnicia to Accadia, but, at the end of the end, we reach a legend full of myths like those which Bushmen tell by the camp-fire, Eskimo in their dark huts, and Australians in the shade of the gunyeh– myths cruel, puerile, obscene, like the fancies of the savage myth-makers from which they sprang.

THE BULL-ROARER.

A Study of the Mysteries

As the belated traveller makes his way through the monotonous plains of Australia, through the Bush, with its level expanses and clumps of grey-blue gum trees, he occasionally hears a singular sound. Beginning low, with a kind of sharp tone thrilling through a whirring noise, it grows louder and louder, till it becomes a sort of fluttering windy roar. If the traveller be a new comer, he is probably puzzled to the last degree. If he be an Englishman, country-bred, he says to himself, ‘Why, that is the bull-roarer.’ If he knows the colony and the ways of the natives, he knows that the blacks are celebrating their tribal mysteries. The roaring noise is made to warn all women to keep out of the way. Just as Pentheus was killed (with the approval of Theocritus) because he profaned the rites of the women-worshippers of Dionysus, so, among the Australian blacks, men must, at their peril, keep out of the way of female, and women out of the way of male, celebrations.

The instrument which produces the sounds that warn women to remain afar is a toy familiar to English country lads. They call it the bull-roarer. The common bull-roarer is an inexpensive toy which anyone can make. I do not, however, recommend it to families, for two reasons. In the first place, it produces a most horrible and unexampled din, which endears it to the very young, but renders it detested by persons of mature age. In the second place, the character of the toy is such that it will almost infallibly break all that is fragile in the house where it is used, and will probably put out the eyes of some of the inhabitants. Having thus, I trust, said enough to prevent all good boys from inflicting bull-roarers on their parents, pastors, and masters, I proceed (in the interests of science) to show how the toy is made. Nothing can be less elaborate. You take a piece of the commonest wooden board, say the lid of a packing-case, about a sixth of an inch in thickness, and about eight inches long and three broad, and you sharpen the ends. When finished, the toy may be about the shape of a large bay-leaf, or a ‘fish’ used as a counter (that is how the New Zealanders make it), or the sides may be left plain in the centre, and only sharpened towards the extremities, as in an Australian example lent me by Mr. Tylor. Then tie a strong piece of string, about thirty inches long, to one end of the piece of wood and the bull-roarer (the Australian natives call it turndun, and the Greeks called it ρομβος) is complete. Now twist the end of the string tightly about your finger, and whirl the bull-roarer rapidly round and round. For a few moments nothing will happen. In a very interesting lecture delivered at the Royal Institution, Mr. Tylor once exhibited a bull-roarer. At first it did nothing particular when it was whirled round, and the audience began to fear that the experiment was like those chemical ones often exhibited at institutes in the country, which contribute at most a disagreeable odour to the education of the populace. But when the bull-roarer warmed to its work, it justified its name, producing what may best be described as a mighty rushing noise, as if some supernatural being ‘fluttered and buzzed his wings with fearful roar.’ Grown-up people, of course, are satisfied with a very brief experience of this din, but boys have always known the bull-roarer in England as one of the most efficient modes of making the hideous and unearthly noises in which it is the privilege of youth to delight.

The bull-roarer has, of all toys, the widest diffusion, and the most extraordinary history. To study the bull-roarer is to take a lesson in folklore. The instrument is found among the most widely severed peoples, savage and civilised, and is used in the celebration of savage and civilised mysteries. There are students who would found on this a hypothesis that the various races that use the bull-roarer all descend from the same stock. But the bull roarer is introduced here for the very purpose of showing that similar minds, working with simple means towards similar ends, might evolve the bull-roarer and its mystic uses anywhere. There is no need for a hypothesis of common origin, or of borrowing, to account for this widely diffused sacred object.

The bull-roarer has been, and is, a sacred and magical instrument in many and widely separated lands. It is found, always as a sacred instrument, employed in religious mysteries, in New Mexico, in Australia, in New Zealand, in ancient Greece, and in Africa; while, as we have seen, it is a peasant-boy’s plaything in England. A number of questions are naturally suggested by the bull-roarer. Is it a thing invented once for all, and carried abroad over the world by wandering races, or handed on from one people and tribe to another? Or is the bull-roarer a toy that might be accidentally hit on in any country where men can sharpen wood and twist the sinews of animals into string? Was the thing originally a toy, and is its religious and mystical nature later; or was it originally one of the properties of the priest, or medicine-man, which in England has dwindled to a plaything? Lastly, was this mystical instrument at first employed in the rites of a civilised people like the Greeks, and was it in some way borrowed or inherited by South Africans, Australians, and New Mexicans? Or is it a mere savage invention, surviving (like certain other features of the Greek mysteries) from a distant stage of savagery? Our answer to all these questions is that in all probability the presence of the ρομβος, or bull-roarer, in Greek mysteries was a survival from the time when Greeks were in the social condition of Australians.

In the first place, the bull-roarer is associated with mysteries and initiations. Now mysteries and initiations are things that tend to dwindle and to lose their characteristic features as civilisation advances. The rites of baptism and confirmation are not secret and hidden; they are common to both sexes, they are publicly performed, and religion and morality of the purest sort blend in these ceremonies. There are no other initiations or mysteries that civilised modern man is expected necessarily to pass through. On the other hand, looking widely at human history, we find mystic rites and initiations numerous, stringent, severe, and magical in character, in proportion to the lack of civilisation in those who practise them. The less the civilisation, the more mysterious and the more cruel are the rites. The more cruel the rites, the less is the civilisation. The red-hot poker with which Mr. Bouncer terrified Mr. Verdant Green at the sham masonic rites would have been quite in place, a natural instrument of probationary torture, in the Freemasonry of Australians, Mandans, or Hottentots. In the mysteries of Demeter or Bacchus, in the mysteries of a civilised people, the red-hot poker, or any other instrument of torture, would have been out of place. But in the Greek mysteries, just as in those of South Africans, Red Indians, and Australians, the disgusting practice of bedaubing the neophyte with dirt and clay was preserved. We have nothing quite like that in modern initiations. Except at Sparta, Greeks dropped the tortures inflicted on boys and girls in the initiations superintended by the cruel Artemis. [12 - Pausanias, iii. 15. When the boys were being cruelly scourged, the priestess of Artemis Orthia held an ancient barbaric wooden image of the goddess in her hands. If the boys were spared, the image grew heavy; the more they were tortured, the lighter grew the image. In Samoa the image (shark’s teeth) of the god Taema is consulted before battle. ‘If it felt heavy, that was a bad omen; if light, the sign was good’ – the god was pleased (Turner’s Samoa, p. 55).] But Greek mysteries retained the daubing with mud and the use of the bull-roarer. On the whole, then, and on a general view of the subject, we prefer to think that the bull-roarer in Greece was a survival from savage mysteries, not that the bull-roarer in New Mexico, New Zealand, Australia, and South Africa is a relic of civilisation.

Let us next observe a remarkable peculiarity of the turndun, or Australian bull-roarer. The bull-roarer in England is a toy. In Australia, according to Howitt and Fison, [13 - Kamilaroi and Kurnai, p. 268.] the bull-roarer is regarded with religious awe. ‘When, on lately meeting with two of the surviving Kurnai, I spoke to them of the turndun, they first looked cautiously round them to see that no one else was looking, and then answered me in undertones.’ The chief peculiarity in connection with the turndun is that women may never look upon it. The Chepara tribe, who call it bribbun, have a custom that, ‘if seen by a woman, or shown by a man to a woman, the punishment to both is death.’

Among the Kurnai, the sacred mystery of the turndun is preserved by a legend, which gives a supernatural sanction to secrecy. When boys go through the mystic ceremony of initiation they are shown turnduns, or bull-roarers, and made to listen to their hideous din. They are then told that, if ever a woman is allowed to see a turndun, the earth will open, and water will cover the globe. The old men point spears at the boy’s eyes, saying: ‘If you tell this to any woman you will die, you will see the ground broken up and like the sea; if you tell this to any woman, or to any child, you will be killed!’ As in Athens, in Syria, and among the Mandans, the deluge-tradition of Australia is connected with the mysteries. In Gippsland there is a tradition of the deluge. ‘Some children of the Kurnai in playing about found a turndun, which they took home to the camp and showed the women. Immediately the earth crumbled away, and it was all water, and the Kurnai were drowned.’

In consequence of all this mummery the Australian women attach great sacredness to the very name of the turndun. They are much less instructed in their own theology than the men of the tribe. One woman believed she had heard Pundjel, the chief supernatural being, descend in a mighty rushing noise, that is, in the sound of the turndun, when boys were being ‘made men,’ or initiated. [14 - Fison, Journal Anthrop. Soc., Nov. 1883.] On turnduns the Australian sorcerers can fly up to heaven. Turnduns carved with imitations of water-flowers are used by medicine-men in rain-making. New Zealand also has her bull-roarers; some of them, carved in relief, are in the Christy Museum, and one is engraved here. I have no direct evidence as to the use of these Maori bull-roarers in the Maori mysteries. Their employment, however, may perhaps be provisionally inferred.

One can readily believe that the New Zealand bull-roarer may be whirled by any man who is repeating a Karakia, or ‘charm to raise the wind’: —

Loud wind,
Lasting wind,
Violent whistling wind,
Dig up the calm reposing sky,
Come, come.

In New Zealand [15 - Taylor’s New Zealand, p. 181.] ‘the natives regarded the wind as an indication of the presence of their god,’ a superstition not peculiar to Maori religion. The ‘cold wind’ felt blowing over the hands at spiritualistic séances is also regarded (by psychical researchers) as an indication of the presence of supernatural beings. The windy roaring noise made by the bull-roarer might readily be considered by savages, either as an invitation to a god who should present himself in storm, or as a proof of his being at hand. We have seen that this view was actually taken by an Australian woman. The hymn called ‘breath,’ or haha, a hymn to the mystic wind, is pronounced by Maori priests at the moment of the initiation of young men in the tribal mysteries. It is a mere conjecture, and possibly enough capable of disproof, but we have a suspicion that the use of the mystica vannus Iacchi was a mode of raising a sacred wind analogous to that employed by whirlers of the turndun. [16 - This is not the view of le Père Lafitau, a learned Jesuit missionary in North America, who wrote (1724) a work on savage manners, compared with the manners of heathen antiquity. Lafitau, who was greatly struck with the resemblances between Greek and Iroquois or Carib initiations, takes Servius’s other explanation of the mystica vannus, ‘an osier vessel containing rural offerings of first fruits.’ This exactly answers, says Lafitau, to the Carib Matoutou, on which they offer sacred cassava cakes.]

Servius, the ancient commentator on Virgil, mentions, among other opinions, this – that the vannus was a sieve, and that it symbolised the purifying effect of the mysteries. But it is clear that Servius was only guessing; and he offers other explanations, among them that the vannus was a crate to hold offerings, primitias frugum.

We have studied the bull-roarer in Australia, we have caught a glimpse of it in England. Its existence on the American continent is proved by letters from New Mexico, and by a passage in Mr. Frank Cushing’s ‘Adventures in Zuni.’ [17 - The Century Magazine, May 1883.] In Zuni, too, among a semi-civilised Indian tribe, or rather a tribe which has left the savage for the barbaric condition, we find the bull-roarer. Here, too, the instrument – a ‘slat,’ Mr. Gushing calls it – is used as a call to the ceremonial observance of the tribal ritual. The Zunis have various ‘orders of a more or less sacred and sacerdotal character.’ Mr. Cushing writes: —

These orders were engaged in their annual ceremonials, of which little was told or shown me; but, at the end of four days, I heard one morning a deep whirring noise. Running out, I saw a procession of three priests of the bow, in plumed helmets and closely-fitting cuirasses, both of thick buckskin – gorgeous and solemn with sacred embroideries and war-paint, begirt with bows, arrows, and war-clubs, and each distinguished by his badge of degree – coming down one of the narrow streets. The principal priest carried in his arms a wooden idol, ferocious in aspect, yet beautiful with its decorations of shell, turquoise, and brilliant paint. It was nearly hidden by symbolic slats and prayer-sticks most elaborately plumed. He was preceded by a guardian with drawn bow and arrows, while another followed, twirling the sounding slat, which had attracted alike my attention and that of hundreds of the Indians, who hurriedly flocked to the roofs of the adjacent houses, or lined the street, bowing their heads in adoration, and scattering sacred prayer-meal on the god and his attendant priests. Slowly they wound their way down the hill, across the river, and off toward the mountain of Thunder. Soon an identical procession followed and took its way toward the western hills. I watched them long until they disappeared, and a few hours afterward there arose from the top of ‘Thunder Mountain’ a dense column of smoke, simultaneously with another from the more distant western mesa of ‘U-ha-na-mi,’ or ‘Mount of the Beloved.’

Then they told me that for four days I must neither touch nor eat flesh or oil of any kind, and for ten days neither throw any refuse from my doors, nor permit a spark to leave my house, for ‘This was the season of the year when the “grandmother of men” (fire) was precious.’

Here then, in Zuni, we have the bull-roarer again, and once more we find it employed as a summons to the mysteries. We do not learn, however, that women in Zuni are forbidden to look upon the bull-roarer. Finally, the South African evidence, which is supplied by letters from a correspondent of Mr. Tylor’s, proves that in South Africa, too, the bull-roarer is employed to call the men to the celebration of secret functions. A minute description of the instrument, and of its magical power to raise a wind, is given in Theal’s ‘Kaffir Folklore,’ p. 209. The bull-roarer has not been made a subject of particular research; very probably later investigations will find it in other parts of the modern world besides America, Africa, New Zealand, and Australia. I have myself been fortunate enough to encounter the bull-roarer on the soil of ancient Greece and in connection with the Dionysiac mysteries. Clemens of Alexandria, and Arnobius, an early Christian father who follows Clemens, describe certain toys of the child Dionysus which were used in the mysteries. Among these are turbines, κωνοι, and ρομβοι. The ordinary dictionaries interpret all these as whipping-tops, adding that ρομβος is sometimes ‘a magic wheel.’ The ancient scholiast on Clemens, however, writes: ‘The κωνος is a little piece of wood, to which a string is fastened, and in the mysteries it is whirled round to make a roaring noise.’ [18 - Κωνος ξυλαριον ου εξηπται το σπαρτιον και εν ταις τελεταις εδονειτο ινα ροιζη. Lobeck, Aglaophamus (i. p. 700).] Here, in short, we have a brief but complete description of the bull-roarer of the Australian turndun. No single point is omitted. The κωνος, like the turndun, is a small object of wood, it is tied to a string, when whirled round it produces a roaring noise, and it is used at initiations. This is not the end of the matter.

In the part of the Dionysiac mysteries at which the toys of the child Dionysus were exhibited, and during which (as it seems) the κωνος, or bull-roarer, was whirred, the performers daubed themselves all over with clay. This we learn from a passage in which Demosthenes describes the youth of his hated adversary, Æschines. The mother of Æschines, he says, was a kind of ‘wise woman,’ and dabbler in mysteries. Æschines used to aid her by bedaubing the initiate over with clay and bran. [19 - De Corona, p. 313.] The word αποματτων, here used by Demosthenes, is explained by Harpocration as the ritual term for daubing the initiated. A story was told, as usual, to explain this rite. It was said that, when the Titans attacked Dionysus and tore him to pieces, they painted themselves first with clay, or gypsum, that they might not be recognised. Nonnus shows, in several places, that down to his time the celebrants of the Bacchic mysteries retained this dirty trick. Precisely the same trick prevails in the mysteries of savage peoples. Mr. Winwood Reade [20 - Savage Africa. Captain Smith, the lover of Pocahontas, mentions the custom in his work on Virginia, pp. 245-248.] reports the evidence of Mongilomba. When initiated, Mongilomba was ‘severely flogged in the Fetich House’ (as young Spartans were flogged before the animated image of Artemis), and then he was ‘plastered over with goat-dung.’ Among the natives of Victoria, [21 - Brough Smyth, i. 60, using evidence of Howitt, Taplin, Thomas, and Wilhelmi.] the ‘body of the initiated is bedaubed with clay, mud, charcoal powder, and filth of every kind.’ The girls are plastered with charcoal powder and white clay, answering to the Greek gypsum. Similar daubings were performed at the mysteries by the Mandans, as described by Catlin; and the Zunis made raids on Mr. Cushing’s black paint and Chinese ink for like purposes. On the Congo, Mr. Johnson found precisely the same ritual in the initiations. Here, then, not to multiply examples, we discover two singular features in common between Greek and savage mysteries. Both Greeks and savages employ the bull-roarer, both bedaub the initiated with dirt or with white paint or chalk. As to the meaning of the latter very un-Aryan practice, one has no idea. It is only certain that war parties of Australian blacks bedaub themselves with white clay to alarm their enemies in night attacks. The Phocians, according to Herodotus (viii. 27), adopted the same ‘aisy stratagem,’ as Captain Costigan has it. Tellies, the medicine-man (μαντις), chalked some sixty Phocians, whom he sent to make a night attack on the Thessalians. The sentinels of the latter were seized with supernatural horror, and fled, ‘and after the sentinels went the army.’ In the same way, in a night attack among the Australian Kurnai, [22 - Kamilaroi and Kurnai, p. 214.] ‘they all rapidly painted themselves with pipe-clay: red ochre is no use, it cannot frighten an enemy.’ If, then, Greeks in the historic period kept up Australian tactics, it is probable that the ancient mysteries of Greece might retain the habit of daubing the initiated which occurs in savage rites.

‘Come now,’ as Herodotus would say, ‘I will show once more that the mysteries of the Greeks resemble those of Bushmen.’ In Lucian’s Treatise on Dancing, [23 - Περι ορχησεως, c. 15.] we read, ‘I pass over the fact that you cannot find a single ancient mystery in which there is not dancing… To prove this I will not mention the secret acts of worship, on account of the uninitiated. But this much all men know, that most people say of those who reveal the mysteries, that they “dance them out.”’ Here Liddell and Scott write, rather weakly, ‘to dance out, let out, betray, probably of some dance which burlesqued these ceremonies.’ It is extremely improbable that, in an age when it was still forbidden to reveal the ορyια, or secret rites, those rites would be mocked in popular burlesques. Lucian obviously intends to say that the matter of the mysteries was set forth in ballets d’action. Now this is exactly the case in the surviving mysteries of the Bushmen. Shortly after the rebellion of Langalibalele’s tribe, Mr. Orpen, the chief magistrate in St. John’s Territory, made the acquaintance of Qing, one of the last of an all but exterminated tribe. Qing ‘had never seen a white man, except fighting,’ when he became Mr. Orpen’s guide. He gave a good deal of information about the myths of his people, but refused to answer certain questions. ‘You are now asking the secrets that are not spoken of.’ Mr. Orpen asked, ‘Do you know the secrets?’ Qing replied, ‘No, only the initiated men of that dance know these things.’ To ‘dance’ this or that means, ‘to be acquainted with this or that mystery;’ the dances were originally taught by Cagn, the mantis, or grasshopper god. In many mysteries, Qing, as a young man, was not initiated. He could not ‘dance them out.’ [24 - Cape Monthly Magazine, July 1874.]

There are thus undeniably close resemblances between the Greek mysteries and those of the lowest contemporary races.

As to the bull-roarer, its recurrence among Greeks, Zunis, Kamilaroi, Maoris, and South African races, would be regarded, by some students, as a proof that all these tribes had a common origin, or had borrowed the instrument from each other. But this theory is quite unnecessary. The bull-roarer is a very simple invention. Anyone might find out that a bit of sharpened wood, tied to a string, makes, when whirred, a roaring noise. Supposing that discovery made, it is soon turned to practical use. All tribes have their mysteries. All want a signal to summon the right persons together and warn the wrong persons to keep out of the way. The church bell does as much for us, so did the shaken seistron for the Egyptians. People with neither bells nor seistra find the bull-roarer, with its mysterious sound, serve their turn. The hiding of the instrument from women is natural enough. It merely makes the alarm and absence of the curious sex doubly sure. The stories of supernatural consequences to follow if a woman sees the turndun lend a sanction. This is not a random theory, without basis. In Brazil, the natives have no bull-roarer, but they have mysteries, and the presence of the women at the mysteries of the men is a terrible impiety. To warn away the women, the Brazilians make loud ‘devil-music’ on what are called ‘jurupari pipes.’ Now, just as in Australia, the women may not see the jurupari pipes on pain of death. When the sound of the jurupari pipes is heard, as when the turndun is heard in Australia, every woman flees and hides herself. The women are always executed if they see the pipes. Mr. Alfred Wallace bought a pair of these pipes, but he had to embark them at a distance from the village where they were procured. The seller was afraid that some unknown misfortune would occur if the women of his village set eyes on the juruparis. [25 - Wallace, Travels on the Amazon, p. 349.]

The conclusion from all these facts seems obvious. The bull-roarer is an instrument easily invented by savages, and easily adopted into the ritual of savage mysteries. If we find the bull-roarer used in the mysteries of the most civilised of ancient peoples, the most probable explanation is, that the Greeks retained both the mysteries, the bull-roarer, the habit of bedaubing the initiate, the torturing of boys, the sacred obscenities, the antics with serpents, the dances, and the like, from the time when their ancestors were in the savage condition. That more refined and religious ideas were afterwards introduced into the mysteries seems certain, but the rites were, in many cases, simply savage. Unintelligible (except as survivals) when found among Hellenes, they become intelligible enough among savages, because they correspond to the intellectual condition and magical fancies of the lower barbarism. The same sort of comparison, the same kind of explanation, will account, as we shall see, for the savage myths as well as for the savage customs which survived among the Greeks.

THE MYTH OF CRONUS

In a Maori pah, when a little boy behaves rudely to his parents, he is sometimes warned that he is ‘as bad as cruel Tutenganahau.’ If he asks who Tutenganahau was, he is told the following story: —

‘In the beginning, the Heaven, Rangi, and the Earth, Papa, were the father and mother of all things. “In these days the Heaven lay upon the Earth, and all was darkness. They had never been separated.” Heaven and Earth had children, who grew up and lived in this thick night, and they were unhappy because they could not see. Between the bodies of their parents they were imprisoned, and there was no light. The names of the children were Tumatuenga, Tane Mahuta, Tutenganahau, and some others. So they all consulted as to what should be done with their parents, Rangi and Papa. “Shall we slay them, or shall we separate them?” “Go to,” said Tumatuenga, “let us slay them.” “No,” cried Tane Mahuta, “let us rather separate them. Let one go upwards, and become a stranger to us; let the other remain below, and be a parent to us.” Only Tawhiri Matea (the wind) had pity on his own father and mother. Then the fruit-gods, and the war-god, and the sea-god (for all the children of Papa and Rangi were gods) tried to rend their parents asunder. Last rose the forest-god, cruel Tutenganahau. He severed the sinews which united Heaven and Earth, Rangi and Papa. Then he pushed hard with his head and feet. Then wailed Heaven and exclaimed Earth, “Wherefore this murder? Why this great sin? Why destroy us? Why separate us?” But Tane pushed and pushed: Rangi was driven far away into the air. “They became visible, who had hitherto been concealed between the hollows of their parents’ breasts.” Only the storm-god differed from his brethren: he arose and followed his father, Rangi, and abode with him in the open spaces of the sky.’

This is the Maori story of the severing of the wedded Heaven and Earth. The cutting of them asunder was the work of Tutenganahau and his brethren, and the conduct of Tutenganahau is still held up as an example of filial impiety. [26 - New Zealand, Taylor, pp. 119-121. Die heilige Sage der Polynesier, Bastian, pp. 36-39.] The story is preserved in sacred hymns of very great antiquity, and many of the myths are common to the other peoples of the Pacific. [27 - A crowd of similar myths, in one of which a serpent severs Heaven and Earth, are printed in Turner’s Samoa.]

Now let us turn from New Zealand to Athens, as she was in the days of Pericles. Socrates is sitting in the porch of the King Archon, when Euthyphro comes up and enters into conversation with the philosopher. After some talk, Euthyphro says, ‘You will think me mad when I tell you whom I am prosecuting and pursuing!’ ‘Why, has the fugitive wings?’ asks Socrates. ‘Nay, he is not very volatile at his time of life!’ ‘Who is he?’ ‘My father.’ ‘Good heavens! you don’t mean that. What is he accused of?’ ‘Murder, Socrates.’ Then Euthyphro explains the case, which quaintly illustrates Greek civilisation. Euthyphro’s father had an agricultural labourer at Naxos. One day this man, in a drunken passion, killed a slave. Euthyphro’s father seized the labourer, bound him, threw him into a ditch, ‘and then sent to Athens to ask a diviner what should be done with him.’ Before the answer of the diviner arrived, the labourer literally ‘died in a ditch’ of hunger and cold. For this offence, Euthyphro was prosecuting his own father. Socrates shows that he disapproves, and Euthyphro thus defends the piety of his own conduct: ‘The impious, whoever he may be, ought not to go unpunished. For do not men regard Zeus as the best and most righteous of gods? Yet even they admit that Zeus bound his own father Cronus, because he wickedly devoured his sons; and that Cronus, too, had punished his own father, Uranus, for a similar reason, in a nameless manner. And yet when I proceed against my father, people are angry with me. This is their inconsistent way of talking, when the gods are concerned, and when I am concerned.’

Here Socrates breaks in. He ‘cannot away with these stories about the gods,’ and so he has just been accused of impiety, the charge for which he died. Socrates cannot believe that a god, Cronus, mutilated his father Uranus, but Euthyphro believes the whole affair: ‘I can tell you many other things about the gods which would quite amaze you.’ [28 - The translation used is Jowett’s.]

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We have here a typical example of the way in which mythology puzzled the early philosophers of Greece. Socrates was anxious to be pious, and to respect the most ancient traditions of the gods. Yet at the very outset of sacred history he was met by tales of gods who mutilated and bound their own parents. Not only were such tales hateful to him, but they were of positively evil example to people like Euthyphro. The problem remained, how did the fathers of the Athenians ever come to tell such myths?

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Let us now examine the myth of Cronus, and the explanations which have been given by scholars. Near the beginning of things, according to Hesiod (whose cosmogony was accepted in Greece), Earth gave birth to Heaven. Later, Heaven, Uranus, became the husband of Gæa, Earth. Just as Rangi and Papa, in New Zealand, had many children, so had Uranus and Gæa. As in New Zealand, some of these children were gods of the various elements. Among them were Oceanus, the deep, and Hyperion, the sun – as among the children of Earth and Heaven, in New Zealand, were the Wind and the Sea. The youngest child of the Greek Heaven and Earth was ‘Cronus of crooked counsel, who ever hated his mighty sire.’ Now even as the children of the Maori Heaven and Earth were ‘concealed between the hollows of their parents’ breasts,’ so the Greek Heaven used to ‘hide his children from the light in the hollows of Earth.’ Both Earth and her children resented this, and, as in New Zealand, the children conspired against Heaven, taking Earth, however, into their counsels. Thereupon Earth produced iron, and bade her children avenge their wrongs. [29 - Theog., 166.] Now fear fell on all of them, except Cronus, who, like Tutenganahau, was all for action. Cronus determined to end the embraces of Heaven and Earth. But, while the Maori myth conceives of Heaven and Earth as of two beings which have never been separated before, Hesiod makes Heaven amorously approach his wife from a distance. Then Cronus stretched out his hand, armed with a sickle of iron, or steel, and mutilated Uranus. Thus were Heaven and Earth practically divorced. But as in the Maori myth one of the children of Heaven clave to his sire, so, in Greek, Oceanus remained faithful to his father. [30 - Apollodorus, i. 15.]

This is the first portion of the Myth of Cronus. Can it be denied that the story is well illustrated and explained by the New Zealand parallel, the myth of the cruelty of Tutenganahau? By means of this comparison, the meaning of the myth is made clear enough. Just as the New Zealanders had conceived of Heaven and Earth as at one time united, to the prejudice of their children, so the ancestors of the Greeks had believed in an ancient union of Heaven and Earth. Both by Greeks and Maoris, Heaven and Earth were thought of as living persons, with human parts and passions. Their union was prejudicial to their children, and so the children violently separated the parents. This conduct is regarded as impious, and as an awful example to be avoided, in Maori pahs. In Naxos, on the other hand, Euthyphro deemed that the conduct of Cronus deserved imitation. If ever the Maoris had reached a high civilisation, they would probably have been revolted, like Socrates, by the myth which survived from their period of savagery. Mr. Tylor well says, [31 - Primitive Culture, i. 325.] ‘Just as the adzes of polished jade, and the cloaks of tied flax-fibre, which these New Zealanders were using but yesterday, are older in their place in history than the bronze battle-axes and linen mummy-cloths of ancient Egypt, so the Maori poet’s shaping of nature into nature-myth belongs to a stage of intellectual history which was passing away in Greece five-and-twenty centuries ago. The myth-maker’s fancy of Heaven and Earth as father and mother of all things naturally suggested the legend that they in old days abode together, but have since been torn asunder.’

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That this view of Heaven and Earth is natural to early minds, Mr. Tylor proves by the presence of the myth of the union and violent divorce of the pair in China. [32 - Pauthier, Livres sacrés de l’Orient, p. 19.] Puang-ku is the Chinese Cronus, or Tutenganahau. In India, [33 - Muir’s Sanskrit Texts, v. 23. Aitareya Brahmana.] Dyaus and Prithivi, Heaven and Earth, were once united, and were severed by Indra, their own child.

This, then, is our interpretation of the exploit of Cronus. It is an old surviving nature-myth of the severance of Heaven and Earth, a myth found in China, India, New Zealand, as well as in Greece. Of course it is not pretended that Chinese and Maoris borrowed from Indians and Greeks, or came originally of the same stock. Similar phenomena, presenting themselves to be explained by human minds in a similar stage of fancy and of ignorance, will account for the parallel myths.

The second part of the myth of Cronus was, like the first, a stumbling-block to the orthodox in Greece. Of the second part we offer no explanation beyond the fact that the incidents in the myth are almost universally found among savages, and that, therefore, in Greece they are probably survivals from savagery. The sequel of the myth appears to account for nothing, as the first part accounts for the severance of Heaven and Earth. In the sequel a world-wide Märchen, or tale, seems to have been attached to Cronus, or attracted into the cycle of which he is centre, without any particular reason, beyond the law which makes detached myths crystallise round any celebrated name. To look further is, perhaps, chercher raison où il n’y en a pas.

The conclusion of the story of Cronus runs thus: – He wedded his sister, Rhea, and begat children – Demeter, Hera, Hades, Poseidon, and, lastly, Zeus. ‘And mighty Cronus swallowed down each of them, each that came to their mother’s knees from her holy womb, with this intent, that none other of the proud children of Uranus should hold kingly sway among the Immortals.’ Cronus showed a ruling father’s usual jealousy of his heirs. It was a case of Friedrich Wilhelm and Friedrich. But Cronus (acting in a way natural in a story perhaps first invented by cannibals) swallowed his children instead of merely imprisoning them. Heaven and Earth had warned him to beware of his heirs, and he could think of no safer plan than that which he adopted. When Rhea was about to become the mother of Zeus, she fled to Crete. Here Zeus was born, and when Cronus (in pursuit of his usual policy) asked for the baby, he was presented with a stone wrapped up in swaddling bands. After swallowing the stone, Cronus was easy in his mind; but Zeus grew up, administered a dose to his father, and compelled him to disgorge. ‘The stone came forth first, as he had swallowed it last.’ [34 - Hesiod, Theog., 497.] The other children also emerged, all alive and well. Zeus fixed the stone at Delphi, where, long after the Christian era, Pausanias saw it. [35 - Paus. x. 24.] It was not a large stone, Pausanias tells us, and the Delphians used to anoint it with oil and wrap it up in wool on feast-days. All Greek temples had their fetich-stones, and each stone had its legend. This was the story of the Delphian stone, and of the fetichism which survived the early years of Christianity. A very pretty story it is. Savages more frequently smear their fetich-stones with red paint than daub them with oil, but the latter, as we learn from Theophrastus’s account of the ‘superstitious man,’ was the Greek ritual.

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This anecdote about Cronus was the stumbling-block of the orthodox Greek, the jest of the sceptic, and the butt of the early Christian controversialists. Found among Bushmen or Australians the narrative might seem rather wild, but it astonishes us still more when it occurs in the holy legends of Greece. Our explanation of its presence there is simple enough. Like the erratic blocks in a modern plain, like the flint-heads in a meadow, the story is a relic of a very distant past. The glacial age left the boulders on the plain, the savage tribes of long ago left the arrowheads, the period of savage fancy left the story of Cronus and the rites of the fetich-stone. Similar rites are still notoriously practised in the South Sea Islands, in Siberia, in India and Africa and Melanesia, by savages. And by savages similar tales are still told.

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We cannot go much lower than the Bushmen, and among Bushman divine myths is room for the ‘swallowing trick’ attributed to Cronus by Hesiod. The chief divine character in Bushman myth is the Mantis insect. His adopted daughter is the child of Kwai Hemm, a supernatural character, ‘the all-devourer.’ The Mantis gets his adopted daughter to call the swallower to his aid; but Kwai Hemm swallows the Mantis, the god-insect. As Zeus made his own wife change herself into an insect, for the convenience of swallowing her, there is not much difference between Bushman and early Greek mythology. Kwai Hemm is killed by a stratagem, and all the animals whom he has got outside of, in a long and voracious career, troop forth from him alive and well, like the swallowed gods from the maw of Cronus. [36 - Bleek, Bushman Folklore, pp. 6-8.] Now, story for story, the Bushman version is much less offensive than that of Hesiod. But the Bushman story is just the sort of story we expect from Bushmen, whereas the Hesiodic story is not at all the kind of tale we look for from Greeks. The explanation is, that the Greeks had advanced out of a savage state of mind and society, but had retained their old myths, myths evolved in the savage stage, and in harmony with that condition of fancy. Among the Kaffirs [37 - Theal, Kaffir Folklore, pp. 161-167.] we find the same ‘swallow-myth.’ The Igongqongqo swallows all and sundry; a woman cuts the swallower with a knife, and ‘people came out, and cattle, and dogs.’ In Australia, a god is swallowed. As in the myth preserved by Aristophanes in the ‘Birds,’ the Australians believe that birds were the original gods, and the eagle, especially, is a great creative power. The Moon was a mischievous being, who walked about the world, doing what evil he could. One day he swallowed the eagle-god. The wives of the eagle came up, and the Moon asked them where he might find a well. They pointed out a well, and, as he drank, they hit the Moon with a stone tomahawk, and out flew the eagle. [38 - Brough Smith, i. 432-433.] This is oddly like Grimm’s tale of ‘The Wolf and the Kids.’ The wolf swallowed the kids, their mother cut a hole in the wolf, let out the kids, stuffed the wolf with stones, and sewed him up again. The wolf went to the well to drink, the weight of the stones pulled him in, and he was drowned. Similar stories are common among the Red Indians, and Mr. Im Thurn has found them in Guiana. How savages all over the world got the idea that men and beasts could be swallowed and disgorged alive, and why they fashioned the idea into a divine myth, it is hard to say. Mr. Tylor, in ‘Primitive Culture,’ [39 - i. 338.] adds many examples of the narrative. The Basutos have it; it occurs some five times in Callaway’s ‘Zulu Nursery Tales.’ In Greenland the Eskimo have a shape of the incident, and we have all heard of the escape of Jonah.