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the golden bough-及112准

弌傍 the golden bough 忖方 耽匈4000忖

梓囚徒貧圭鮗 ○ 賜 ★ 辛酔堀貧和鍬匈梓囚徒貧議 Enter 囚辛指欺云慕朕村匈梓囚徒貧圭鮗 ● 辛指欺云匈競何
!!!!隆堋響頼紗秘慕禰厮宴和肝写偬堋響



hey now pictured to themselves the growth and decay of vegetation察the birth and death of living creatures察as effects of the waxing or waning strength of divine beings察of gods and goddesses察who were born and died察who married and begot children察on the pattern of human life。


Thus the old magical theory of the seasons was displaced察or rather supplemented察by a religious theory。 For although men now attributed the annual cycle of change primarily to corresponding changes in their deities察they still thought that by performing certain magical rites they could aid the god who was the principle of life察in his struggle with the opposing principle of death。 They imagined that they could recruit his failing energies and even raise him from the dead。 The ceremonies which they observed for this purpose were in substance a dramatic representation of the natural processes which they wished to facilitate察for it is a familiar tenet of magic that you can produce any desired effect by merely imitating it。 And as they now explained the fluctuations of growth and decay察of reproduction and dissolution察by the marriage察the death察and the rebirth or revival of the gods察their religious or rather magical dramas turned in great measure on these themes。 They set forth the fruitful union of the powers of fertility察the sad death of one at least of the divine partners察and his joyful resurrection。 Thus a religious theory was blended with a magical practice。 The combination is familiar in history。 Indeed察few religions have ever succeeded in wholly extricating themselves from the old trammels of magic。 The inconsistency of acting on two opposite principles察however it may vex the soul of the philosopher察rarely troubles the common man察indeed he is seldom even aware of it。 His affair is to act察not to analyse the motives of his action。 If mankind had always been logical and wise察history would not be a long chronicle of folly and crime。

Of the changes which the seasons bring with them察the most striking within the temperate zone are those which affect vegetation。 The influence of the seasons on animals察though great察is not nearly so manifest。 Hence it is natural that in the magical dramas designed to dispel winter and bring back spring the emphasis should be laid on vegetation察and that trees and plants should figure in them more prominently than beasts and birds。 Yet the two sides of life察the vegetable and the animal察were not dissociated in the minds of those who observed the ceremonies。 Indeed they commonly believed that the tie between the animal and the vegetable world was even closer than it really is察hence they often combined the dramatic representation of reviving plants with a real or a dramatic union of the sexes for the purpose of furthering at the same time and by the same act the multiplication of fruits察of animals察and of men。 To them the principle of life and fertility察whether animal or vegetable察was one and indivisible。 To live and to cause to live察to eat food and to beget children察these were the primary wants of men in the past察and they will be the primary wants of men in the future so long as the world lasts。 Other things may be added to enrich and beautify human life察but unless these wants are first satisfied察humanity itself must cease to exist。 These two things察therefore察food and children察were what men chiefly sought to procure by the performance of magical rites for the regulation of the seasons。

Nowhere察apparently察have these rites been more widely and solemnly celebrated than in the lands which border the Eastern Mediterranean。 Under the names of Osiris察Tammuz察Adonis察and Attis察the peoples of Egypt and Western Asia represented the yearly decay and revival of life察especially of vegetable life察which they personified as a god who annually died and rose again from the dead。 In name and detail the rites varied from place to place此in substance they were the same。 The supposed death and resurrection of this oriental deity察a god of many names but of essentially one nature察is now to be examined。 We begin with Tammuz or Adonis。

The worship of Adonis was practised by the Semitic peoples of Babylonia and Syria察and the Greeks borrowed it from them as early as the seventh century before Christ。 The true name of the deity was Tammuz此the appellation of Adonis is merely the Semitic Adon察lord察a title of honour by which his worshippers addressed him。 But the Greeks through a misunderstanding converted the title of honour into a proper name。 In the religious literature of Babylonia Tammuz appears as the youthful spouse or lover of Ishtar察the great mother goddess察the embodiment of the reproductive energies of nature。 The references to their connexion with each other in myth and ritual are both fragmentary and obscure察but we gather from them that every year Tammuz was believed to die察passing away from the cheerful earth to the gloomy subterranean world察and that every year his divine mistress journeyed in quest of him to the land from which there is no returning察to the house of darkness察where dust lies on door and bolt。 During her absence the passion of love ceased to operate此men and beasts alike forgot to reproduce their kinds此all life was threatened with extinction。 So intimately bound up with the goddess were the sexual functions of the whole animal kingdom that without her presence they could not be discharged。 A messenger of the great god Ea was accordingly despatched to rescue the goddess on whom so much depended。 The stern queen of the infernal regions察Allatu or Eresh´Kigal by name察reluctantly allowed Ishtar to be sprinkled with the Water of Life and to depart察in company probably with her lover Tammuz察that the two might return together to the upper world察and that with their return all nature might revive。

Laments for the departed Tammuz are contained in several Babylonian hymns察which liken him to plants that quickly fade。 He is

A tamarisk that in the garden has drunk no water察Whose crown in the field has brought forth no blossom。 A willow that rejoiced not by the watercourse察A willow whose roots were torn up。 A herb that in the garden had drunk no water。

His death appears to have been annually mourned察to the shrill music of flutes察by men and women about midsummer in the month named after him察the month of Tammuz。 The dirges were seemingly chanted over an effigy of the dead god察which was washed with pure water察anointed with oil察and clad in a red robe察while the fumes of incense rose into the air察as if to stir his dormant senses by their pungent fragrance and wake him from the sleep of death。 In one of these dirges察inscribed Lament of the Flutes for Tammuz察we seem still to hear the voices of the singers chanting the sad refrain and to catch察like far´away music察the wailing notes of the flutes

At his vanishing away she lifts up a lament察'Oh my child' at his vanishing away she lifts up a lament察'My Damu' at his vanishing away she lifts up a lament。 'My enchanter and priest' at his vanishing away she lifts up a lament察At the shining cedar察rooted in a spacious place察In Eanna察above and below察she lifts up a lament。 Like the lament that a house lifts up for its master察lifts she up a lament察Like the lament that a city lifts up for its lord察lifts she up a lament。 Her lament is the lament for a herb that grows not in the bed察Her lament is the lament for the corn that grows not in the ear。 Her chamber is a possession that brings not forth a possession察A weary woman察a weary child察forspent。 Her lament is for a great river察where no willows grow察Her lament is for a field察where corn and herbs grow not。 Her lament is for a pool察where fishes grow not。 Her lament is for a thickest of reeds察where no reeds grow。 Her lament is for woods察where tamarisks grow not。 Her lament is for a wilderness where no cypresses ┌殖 grow。 Her lament is for the depth of a garden of trees察where honey and wine grow not。 Her lament is for meadows察where no plants grow。

Her lament is for a palace察where length of life grows not。

The tragical story and the melancholy rites of Adonis are better known to us from the descriptions of Greek writers than from the fragments of Babylonian literature or the brief reference of the prophet Ezekiel察who saw the women of Jerusalem weeping for Tammuz at the north gate of the temple。 Mirrored in the glass of Greek mythology察the oriental deity appears as a comely youth beloved by Aphrodite。 In his infancy the goddess hid him in a chest察which she gave in charge to Persephone察queen of the nether world。 But when Persephone opened the chest and beheld the beauty of the babe察she refused to give him back to Aphrodite察though the goddess of love went down herself to hell to ransom her dear one from the power of the grave。 The dispute between the two goddesses of love and death was settled by Zeus察who decreed that Adonis should abide with Persephone in the under world for one part of the year察and with Aphrodite in the upper world for another part。 At last the fair youth was killed in hunting by a wild boar察or by the jealous Ares察who turned himself into the likeness of a boar in order to compass the death of his rival。 Bitterly did Aphrodite lament her lov

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