Ancient Art and Ritual Part 3

The sun, then, had no ritual till it was seen that he led in the seasons; but long before that was known, it was seen that the seasons were annual, that they went round in a _ring_; and because that annual ring was long in revolving, great was man's hope and fear in the winter, great his relief and joy in the spring. It was literally a matter of death and life, and it was as death and life that he sometimes represented it, as we have seen in the figures of Adonis and Osiris.

Adonis and Osiris have their modern parallels, who leave us in no doubt as to the meaning of their figures. Thus on the 1st of March in Thuringen a ceremony is performed called "Driving out the Death." The young people make up a figure of straw, dress it in old clothes, carry it out and throw it into the river. Then they come back, tell the good news to the village, and are given eggs and food as a reward. In Bohemia the children carry out a straw puppet and burn it. While they are burning it they sing--

"Now carry we Death out of the village, The new Summer into the village, Welcome, dear Summer, Green little corn."

In other parts of Bohemia the song varies; it is not Summer that comes back but Life.

"We have carried away Death, And brought back Life."

In both these cases it is interesting to note that though Death is dramatically carried out, the coming back of Life is only announced, not enacted.

Often, and it would seem quite naturally, the puppet representing Death or Winter is reviled and roughly handled, or pelted with stones, and treated in some way as a sort of scapegoat. But in not a few cases, and these are of special interest, it seems to be the seat of a sort of magical potency which can be and is transferred to the figure of Summer or Life, thus causing, as it were, a sort of Resurrection. In Lusatia the women only carry out the Death. They are dressed in black themselves as mourners, but the puppet of straw which they dress up as the Death wears a white s.h.i.+rt. They carry it to the village boundary, followed by boys throwing stones, and there tear it to pieces. Then they cut down a tree and dress it in the white s.h.i.+rt of the Death and carry it home singing.

So at the Feast of the Ascension in Transylvania. After morning service the girls of the village dress up the Death; they tie a threshed-out sheaf of corn into a rough copy of a head and body, and stick a broomstick through the body for arms. Then they dress the figure up in the ordinary holiday clothes of a peasant girl--a red hood, silver brooches, and ribbons galore. They put the Death at an open window that all the people when they go to vespers may see it. Vespers over, two girls take the Death by the arms and walk in front; the rest follow.

They sing an ordinary church hymn. Having wound through the village they go to another house, shut out the boys, strip the Death of its clothes, and throw the straw body out of the window to the boys, who fling it into a river. Then one of the girls is dressed in the Death's discarded clothes, and the procession again winds through the village. The same hymn is sung. Thus it is clear that the girl is a sort of resuscitated Death. This resurrection aspect, this pa.s.sing of the old into the new, will be seen to be of great ritual importance when we come to Dionysos and the Dithyramb.

These ceremonies of Death and Life are more complex than the simple carrying in of green boughs or even the dancing round maypoles. When we have these figures, these "impersonations," we are getting away from the merely emotional dance, from the domain of simple psychological motor discharge to something that is very like rude art, at all events to personification. On this question of personification, in which so much of art and religion has its roots, it is all-important to be clear.

In discussions on such primitive rites as "Carrying out the Death,"

"Bringing in Summer," we are often told that the puppet of the girl is carried round, buried, burnt; brought back, because it "personifies the Spirit of Vegetation," or it "embodies the Spirit of Summer." The Spirit of Vegetation is "incarnate in the puppet." We are led, by this way of speaking, to suppose that the savage or the villager first forms an idea or conception of a Spirit of Vegetation and then later "embodies" it. We naturally wonder that he should perform a mental act so high and difficult as abstraction.

A very little consideration shows that he performs at first no abstraction at all; abstraction is foreign to his mental habit. He begins with a vague excited dance to relieve his emotion. That dance has, probably almost from the first, a leader; the dancers choose an actual _person_, and he is the root and ground of _personification_.

There is nothing mysterious about the process; the leader does not "embody" a previously conceived idea, rather he begets it. From his personality springs the personification. The abstract idea arises from the only thing it possibly can arise from, the concrete fact. Without _per_ception there is no _con_ception. We noted in speaking of dances (p. 43) how the dance got generalized; how from many commemorations of actual hunts and battles there arose the hunt dance and the war dance.

So, from many actual living personal May Queens and Deaths, from many actual men and women decked with leaves, or trees dressed up as men and women, arises _the_ Tree Spirit, _the_ Vegetation Spirit, _the_ Death.

At the back, then, of the fact of personification lies the fact that the emotion is felt collectively, the rite is performed by a band or chorus who dance together _with a common leader_. Round that leader the emotion centres. When there is an act of Carrying-out or Bringing-in he either is himself the puppet or he carries it. Emotion is of the whole band; drama--doing--tends to focus on the leader. This leader, this focus, is then remembered, thought of, imaged; from being _per_ceived year by year, he is finally _con_ceived; but his basis is always in actual fact of which he is but the reflection.

Had there been no periodic festivals, personification might long have halted. But it is easy to see that a recurrent _per_ception helps to form a permanent abstract _con_ception. The different actual recurrent May Kings and "Deaths," _because they recur_, get a sort of permanent life of their own and become beings apart. In this way a conception, a kind of _daimon_, or spirit, is fas.h.i.+oned, who dies and lives again in a perpetual cycle. The periodic festival begets a kind of not immortal, but perennial, G.o.d.

Yet the faculty of conception is but dim and feeble in the mind even of the peasant to-day; his function is to perceive the actual fact year by year, and to feel about it. Perhaps a simple instance best makes this clear. The Greek Church does not gladly suffer images in the round, though she delights in picture-images, _eikons_. But at her great spring festival of Easter she makes, in the remote villages, concession to a strong, perhaps imperative, popular need; she allows an image, an actual idol, of the dead Christ to be laid in the tomb that it may rise again.

A traveller in Euba[18] during Holy Week had been struck by the genuine grief shown at the Good Friday services. On Easter Eve there was the same general gloom and despondency, and he asked an old woman why it was. She answered: "Of course I am anxious; for if Christ does not rise to-morrow, we shall have no corn this year."

The old woman's state of mind is fairly clear. Her emotion is the old emotion, not sorrow for the Christ the Son of Mary, but fear, imminent fear for the failure of food. The Christ again is not the historical Christ of Judaea, still less the incarnation of the G.o.dhead proceeding from the Father; he is the actual figure fas.h.i.+oned by his village chorus and laid by the priests, the leaders of that chorus, in the local sepulchre.

So far, then, we have seen that the vague emotional dance tends to become a periodic rite, performed at regular intervals. The periodic rite may occur at any date of importance to the food-supply of the community, in summer, in winter, at the coming of the annual rains, or the regular rising of a river. Among Mediterranean peoples, both in ancient days and at the present time, the Spring Festival arrests attention. Having learnt the general characteristics of this Spring Festival, we have now to turn to one particular case, the Spring Festival of the Greeks. This is all-important to us because, as will be seen, from the ritual of this and kindred festivals arose, we believe, a great form of Art, the Greek drama.

FOOTNOTES:

[7] Chapter XII: "Periodicity in Nature."

[8] _Ibid._

[9] _De Ser. Num._ 17.

[10] Frazer, _Adonis, Attis, and Osiris_,^3 p. 200.

[11] Quoted by Dr. Frazer, _The Golden Bough_,^2 p. 203.

[12] E.K. Chambers, _The Mediaeval Stage_, I, p. 169.

[13] _The Golden Bough_,^2 p. 205.

[14] _The Golden Bough_,^2 p. 213.

[15] Resumed from Dr. Frazer, _Golden Bough_,^2 II, p. 104.

[16] _De Is. et Os._, p. 367.

[17] _De Aug. Scient._, III, 4.

[18] J.C. Lawson, _Modern Greek Folk-lore and Ancient Religion_, p. 573.

CHAPTER IV

THE SPRING FESTIVAL IN GREECE

The tragedies of aeschylus, Sophocles, and Euripides were performed at Athens at a festival known as the Great Dionysia. This took place early in April, so that the time itself makes us suspect that its ceremonies were connected with the spring. But we have more certain evidence.

Aristotle, in his treatise on the Art of Poetry, raises the question of the origin of the drama. He was not specially interested in primitive ritual; beast dances and spring mummeries might even have seemed to him mere savagery, the lowest form of "imitation;" but he divined that a structure so complex as Greek tragedy must have arisen out of a simpler form; he saw, or felt, in fact, that art had in some way risen out of ritual, and he has left us a memorable statement.

In describing the "Carrying-out of Summer" we saw that the element of real _drama_, real impersonation, began with the leaders of the band, with the Queen of the May, and with the "Death" or the "Winter." Great is our delight when we find that for Greek drama Aristotle[19] divined a like beginning. He says:

"Tragedy--as also Comedy--was at first mere improvisation--the one (tragedy) _originated with the leaders of the Dithyramb_."

The further question faces us: What was the Dithyramb? We shall find to our joy that this obscure-sounding Dithyramb, though before Aristotle's time it had taken literary form, was in origin a festival closely akin to those we have just been discussing. The Dithyramb was, to begin with, a spring ritual; and when Aristotle tells us tragedy arose out of the Dithyramb, he gives us, though perhaps half unconsciously, a clear instance of a splendid art that arose from the simplest of rites; he plants our theory of the connection of art with ritual firmly with its feet on historical ground.

When we use the word "dithyrambic" we certainly do not ordinarily think of spring. We say a style is "dithyrambic" when it is unmeasured, too ornate, impa.s.sioned, flowery. The Greeks themselves had forgotten that the word _Dithyramb_ meant a leaping, inspired dance. But they had not forgotten on what occasion that dance was danced. Pindar wrote a Dithyramb for the Dionysiac festival at Athens, and his song is full of springtime and flowers. He bids all the G.o.ds come to Athens to dance flower-crowned.

"Look upon the dance, Olympians; send us the grace of Victory, ye G.o.ds who come to the heart of our city, where many feet are treading and incense steams: in sacred Athens come to the holy centre-stone. Take your portion of garlands pansy-twined, libations poured from the culling of spring....

"Come hither to the G.o.d with ivy bound. Bromios we mortals name Him, and Him of the mighty Voice.... The clear signs of his Fulfilment are not hidden, whensoever the chamber of the purple-robed Hours is opened, and nectarous flowers lead in the fragrant spring. Then, then, are flung over the immortal Earth, lovely petals of pansies, and roses are amid our hair; and voices of song are loud among the pipes, the dancing-floors are loud with the calling of crowned Semele."

Bromios, "He of the loud cry," is a t.i.tle of Dionysos. Semele is his mother, the Earth; we keep her name in Nova _Zembla_, "New Earth." The song might have been sung at a "Carrying-in of Summer." The Horae, the Seasons, a chorus of maidens, lead in the figure of Spring, the Queen of the May, and they call to Mother Earth to wake, to rise up from the earth, flower-crowned.

You may _bring back_ the life of the Spring in the form of a tree or a maiden, or you may summon her to rise from the sleeping Earth. In Greek mythology we are most familiar with the Rising-up form. Persephone, the daughter of Demeter, is carried below the Earth, and rises up again year by year. On Greek vase-paintings[20] the scene occurs again and again. A mound of earth is represented, sometimes surmounted by a tree; out of the mound a woman's figure rises; and all about the mound are figures of dancing daemons waiting to welcome her.

All this is not mere late poetry and art. It is the primitive art and poetry that come straight out of ritual, out of actual "things done,"

_dromena_. In the village of Megara, near Athens, the very place where to-day on Easter Tuesday the hills are covered with throngs of dancing men, and specially women, Pausanias[21] saw near the City Hearth a rock called "_Anaklethra_, 'Place of Calling-up,' because, if any one will believe it, when she was wandering in search of her daughter, Demeter called her up there"; and he adds: "The women to this day perform rites a.n.a.logous to the story told."