The Golden Bough: A Study in Magic and Religion (Third Edition, Vol. 07 of 12). Frazer James George

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СКАЧАТЬ away slow growth, fan away difficulty of growth:

      Fan away stuntedness, fan away puniness:

      Fan away drowsiness, fan away stupidity:

      Fan away debasedness, fan away wretchedness:

      Fan away the whole completely.’

      “The Elder now changes his motion and fans up the child's arm, saying:

      ‘Fan on power, fan on influence:

      Fan on the paddy bin, fan on the paddy barn:

      Fan on followers, fan on dependants:

      Fan on good things, fan on appropriate things.’ ”39

      Among the reasons for the use of the winnowing-fan in birth-rites may have been the wish to avert evils and to promote fertility and growth.

      Thus in some of the foregoing instances the employment of the winnowing-fan may have been suggested by the proper use of the implement as a means of separating the corn from the chaff, the same operation being extended by analogy to rid men of evils of various sorts which would otherwise adhere to them like husks to the grain. It was in this way that the ancients explained the use of the winnowing-fan in the mysteries.40 But one motive, and perhaps the original one, for setting a newborn child in a winnowing-fan and surrounding it with corn was probably the wish to communicate to the infant, on the principle of sympathetic magic, the fertility and especially the power of growth possessed by the grain. This was in substance the explanation which W. Mannhardt gave of the custom.41 He rightly insisted on the analogy which many peoples, and in particular the ancient Greeks, have traced between the sowing of seed and the begetting of children,42 and he confirmed his view of the function of the winnowing-fan in these ceremonies by aptly comparing a German custom of sowing barley or flax seed over weakly and stunted children in the belief that this will make them grow with the growth of the barley or the flax.43 An Esthonian mode of accomplishing the same object is to set the child in the middle of a plot of ground where a sower is sowing hemp and to leave the little one there till the sowing is finished; after that they imagine that the child will shoot up in stature like the hemp which has just been sown.44

      Use of the winnowing-fan in the rites of Dionysus.

      With the foregoing evidence before us of a widespread custom of placing newborn children in winnowing-fans we clearly cannot argue that Dionysus must necessarily have been a god of the corn because Greek tradition and Greek art represent him as an infant cradled in a winnowing-fan. The argument would prove too much, for it would apply equally to all the infants that have been so cradled in all parts of the world. We cannot even press the argument drawn from the surname “He of the Winnowing-fan” which was borne by Dionysus, since we have seen that similar names are borne for similar reasons in India by persons who have no claim whatever to be regarded as deities of the corn. Yet when all necessary deductions have been made on this score, the association of Dionysus with the winnowing-fan appears to be too intimate to be explained away as a mere reminiscence of a practice to which every Greek baby, whether human or divine, had to submit. That practice would hardly account either for the use of the winnowing-fan in the mysteries or for the appearance of the implement, filled with fruitage of various kinds, on the monuments which set forth the ritual of Dionysus.45 This last emblem points plainly to a conception of the god as a personification of the fruits of the earth in general; and as if to emphasise the idea of fecundity conveyed by such a symbol there sometimes appears among the fruits in the winnowing-fan an effigy of the male organ of generation. The prominent place which that effigy occupied in the worship of Dionysus46 hints broadly, if it does not strictly prove, that to the Greek mind the god stood for the powers of fertility in general, animal as well as vegetable. In the thought of the ancients no sharp line of distinction divided the fertility of animals from the fertility of plants; rather the two ideas met and blended in a nebulous haze. We need not wonder, therefore, that the same coarse but expressive emblem figured conspicuously in the ritual of Father Liber, the Italian counterpart of Dionysus, who in return for the homage paid to the symbol of his creative energy was believed to foster the growth of the crops and to guard the fields against the powers of evil.47

      Myth of the death and resurrection of Dionysus. Legend that the infant Dionysus occupied for a short time the throne of his father Zeus. Death and resurrection of Dionysus represented in his rites.

      Like the other gods of vegetation whom we considered in the last volume, Dionysus was believed to have died a violent death, but to have been brought to life again; and his sufferings, death, and resurrection were enacted in his sacred rites. His tragic story is thus told by the poet Nonnus. Zeus in the form of a serpent visited Persephone, and she bore him Zagreus, that is, Dionysus, a horned infant. Scarcely was he born, when the babe mounted the throne of his father Zeus and mimicked the great god by brandishing the lightning in his tiny hand. But he did not occupy the throne long; for the treacherous Titans, their faces whitened with chalk, attacked him with knives while he was looking at himself in a mirror. For a time he evaded their assaults by turning himself into various shapes, assuming the likeness successively of Zeus and Cronus, of a young man, of a lion, a horse, and a serpent. Finally, in the form of a bull, he was cut to pieces by the murderous knives of his enemies.48 His Cretan myth, as related by Firmicus Maternus, ran thus. He was said to have been the bastard son of Jupiter, a Cretan king. Going abroad, Jupiter transferred the throne and sceptre to the youthful Dionysus, but, knowing that his wife Juno cherished a jealous dislike of the child, he entrusted Dionysus to the care of guards upon whose fidelity he believed he could rely. Juno, however, bribed the guards, and amusing the child with rattles and a cunningly-wrought looking-glass lured him into an ambush, where her satellites, the Titans, rushed upon him, cut him limb from limb, boiled his body with various herbs, and ate it. But his sister Minerva, who had shared in the deed, kept his heart and gave it to Jupiter on his return, revealing to him the whole history of the crime. In his rage, Jupiter put the Titans to death by torture, and, to soothe his grief for the loss of his son, made an image in which he enclosed the child's heart, and then built a temple in his honour.49 In this version a Euhemeristic turn has been given to the myth by representing Jupiter and Juno (Zeus and Hera) as a king and queen of Crete. The guards referred to are the mythical Curetes who danced a war-dance round the infant Dionysus, as they are said to have done round the infant Zeus.50 Very noteworthy is the legend, recorded both by Nonnus and Firmicus, that in his infancy Dionysus occupied for a short time the throne of his father Zeus. So Proclus tells us that “Dionysus was the last king of the gods appointed by Zeus. For his father set him on the kingly throne, and placed in his hand the sceptre, and made him king of all the gods of the world.”51 Such traditions point to a custom of temporarily investing the king's son with the royal dignity as a preliminary to sacrificing him instead of his father. Pomegranates were supposed to have sprung from the blood of Dionysus, as anemones from the blood of Adonis and violets from the blood of Attis: hence women refrained from eating seeds of pomegranates at the festival of the Thesmophoria.52 According to some, the severed limbs of Dionysus were pieced together, at the command of Zeus, by Apollo, who buried them on Parnassus.53 The grave of Dionysus was shewn in the Delphic temple beside a golden statue of Apollo.54 However, according to another account, the grave of Dionysus was at Thebes, where he is said to have been torn in pieces.55 Thus far СКАЧАТЬ