XI. DISEASE…

XI. DISEASE

The Plague Phantom--Devil-dances--Destroying Angels--Ahriman in Astrology---Saturn--Satan and Job--Set--The Fatal Seven--Yakseyo --The Singhalese Pretraya--Reeri--Maha Sohon--Morotoo--Luther on Disease-demons--Gopolu--Madan--Cattle-demon in Russia--Bihlweisen --The Plough.

A familiar fable in the East tells of one who met a fearful phantom, which in reply to his questioning answered--'I am Plague: I have come from yon city where ten thousand lie dead: one thousand were slain by me, the rest by Fear.' Perhaps even this story does not fully report the alliance between the plague and fear; for it is hardly doubtful that epidemics retain their power in the East largely because they have gained personification through fear as demons whose fatal power man can neither prevent nor cure, before which he can only cower and pray.

In the missionary school at Canterbury the young men prepare themselves to help the 'heathen' medically, and so they go forth with materia medica in one hand, and in the other an infallible revelation from heaven reporting plagues as the inflictions of Jehovah, or the destroying angel, or Satan, and the healing of disease the jealously reserved monopoly of God. [172]

The demonisation of diseases is not wonderful. To thoughtful minds not even science has dispelled the mystery which surrounds many of the ailments that afflict mankind, especially the normal diseases besetting children, hereditary complaints, and the strange liabilities to infection and contagion. A genuine, however partial, observation would suggest to primitive man some connection between the symptoms of many diseases and the mysterious universe of which he could not yet recognise himself an epitome. There were indications that certain troubles of this kind were related to the seasons, consequently to the celestial rulers of the seasons,--to the sun that smote by day, and the moon at night. Professor Monier Williams, describing the Devil-dances of Southern India, says that there seems to be an idea among them that when pestilences are rife exceptional measures must be taken to draw off the malignant spirits, supposed to cause them, by tempting them to enter into these wild dancers, and so become dissipated. He witnessed in Ceylon a dance performed by three men who personated the forms and phases of typhus fever. [173] These dances probably belong to the same class of ideas as those of the dervishes in Persia, whose manifold contortions are supposed to repeat the movements of planets. They are invocations of the souls of good stars, and propitiations of such as are evil. Belief in such stellar and planetary influences has pervaded every part of the world, and gave rise to astrological dances. 'Gebelin says that the minuet was the danse oblique of the ancient priests of Apollo, performed in their temples. The diagonal line and the two parallels described in this dance were intended to be symbolical of the zodiac, and the twelve steps of which it is composed were meant for the twelve signs and the months of the year. The dance round the Maypole and the Cotillon has the same origin. Diodorus tells us that Apollo was adored with dances, and in the island of Iona the god danced all night. The Christians of St. Thomas till a very late day celebrated their worship with dances and songs. Calmet says there were dancing-girls in the temple at Jerusalem.' [174]

The influence of the Moon upon tides, the sleeplessness it causes, the restlessness of the insane under its occasional light, and such treacheries of moonshine as we have already considered, have populated our uninhabited satellite with demons. Lunar legends have decorated some well-founded suspicions of moonlight. The mother draws the curtain between the moonshine and her little Endymion, though not because she sees in the waning moon a pining Selene whose kiss may waste away the beauty of youth. A mere survival is the 'bowing to the new moon:' a euphonism traceable to many myths about 'lunacy,' among them, as I think, to Delilah ('languishing'), in whose lap the solar Samson is shorn of his locks, leaving him only the blind destructive strength of the 'moonstruck.'

In the purely Semitic theories of the Jews we find diseases ascribed to the wrath of Jehovah, and their cure to his merciful mood. 'Jehovah will make thy plagues wonderful, and the plagues of thy seed; ... he will bring upon thee all the diseases of Egypt whereof thou wast afraid.' [175] The emerods which smote the worshippers of Dagon were ascribed directly to the hand of Jehovah. [176] In that vague degree of natural dualistic development which preceded the full Iranian influence upon the Jews, the infliction of diseases was delegated to an angel of Jehovah, as in the narratives of smiting the firstborn of Egypt, wasting the army of Sennacherib, and the pestilence sent upon Israel for David's sin. In the progress of this angel to be a demon of disease we find a phase of ambiguity, as shown in the hypochondria of Saul. 'The spirit of Jehovah departed from Saul, and an evil spirit from Jehovah troubled him.' [177]

All such ambiguities disappeared under the influence of Iranian dualism. In the Book of Job we find the infliction of diseases and plagues completely transferred to a powerful spirit, a fully formed opposing potentate. The 'sons of God,' who in the first chapter of Job are said to have presented themselves before Jehovah, may be identified in the thirty-eighth as the stars which shouted for joy at the creation. Satan is the wandering or malign planet which leads in the Ahrimanic side of the Persian planisphere. In the cosmographical theology of that country Ormuzd was to reign for six thousand years, and then Ahriman was to reign for a similar period. The moral associations of this speculation are discussed elsewhere; it is necessary here only to point out the bearing of the planispheric conception upon the ills that flesh is heir to. Ahriman is the 'star-serpent' of the Zendavasta. 'When the pâris rendered this world desolate, and overran the universe; when the star-serpent made a path for himself between heaven and earth,' &c.; 'when Ahriman rambles on the earth, let him who takes the form of a serpent glide on the earth; let him who takes the form of the wolf run on the earth, and let the violent north wind bring weakness.' [178]

The dawn of Ormuzd corresponds with April. The sun returns from winter's death by sign of the lamb (our Aries), and thenceforth every month corresponds with a thousand years of the reign of the Beneficent. September is denoted by the Virgin and Child. To the dark domain of Ahriman the prefecture of the universe passes by Libra,--the same balances which appear in the hand of Satan. The star-serpent prevails over the Virgin and Child. Then follow the months of the scorpion, the centaur, goat, &c., every month corresponding to a thousand years of the reign of Ahriman.

While this scheme corresponds in one direction with the demons of cold, and in another with the entrance and reign of moral evil in the world, beginnings of disease on earth were also ascribed to this seventh thousand of years when the Golden Age had passed. The depth of winter is reached in domicile of the goat, or of Sirius, Seth, Saturn, Satan--according to the many variants. And these, under their several names, make the great 'infortune' of astrology, wherein old Culpepper amply instructed our fathers. 'In the general, consider that Saturn is an old worn-out planet, weary, and of little estimation in this world; he causeth long and tedious sicknesses, abundance of sadness, and a Cartload of doubts and fears; his nature is cold, and dry, and melancholy. And take special notice of this, that when Saturn is Lord of an Eclipse (as he is one of the Lords of this), he governs all the rest of the planets, but none can govern him. Melancholy is made of all the humors in the body of man, but no humor of melancholy. He is envious, and keeps his anger long, and speaks but few words, but when he speaks he speaks to purpose. A man of deep cogitations; he will plot mischief when men are asleep; he hath an admirable memory, and remembers to this day how William the Bastard abused him; he cannot endure to be a slave; he is poor with the poor, fearful with the fearful; he plots mischief against the Superiours, with them that plot mischief against them; have a care of him, Kings and Magistrates of Europe; he will show you what he can do in the effects of this Eclipse; he is old, and therefore hath large experience, and will give perilous counsel; he moves but slowly, and therefore doth the more mischief; all the planets contribute their natures and strength to him, and when he sets on doing mischief he will do it to purpose; he doth not regard the company of the rest of the Planets, neither do any of the rest of the Planets regard his; he is a barren Planet, and therefore delights not in women; he brings the Pestilence; he is destructive to the fruits of the earth; he receives his light from the Sun, and yet he hates the Sun that gives it him.' [179]

Many ages anterior to this began in India the dread of Ketu, astronomically the ninth planet, mythologically the tail of the demon Rahu, cut in twain as already told (p. 46), supposed to be the prolific source of comets, meteors, and falling stars, also of diseases. From this Ketu or dragon's tail were born the Arunah Ketavah (Red Ketus or apparitions), and Ketu has become almost another word for disease. [180]

Strongly influenced as were the Jews by the exact division of the duodecimal period between Good and Evil, affirmed by the Persians, they never lost sight of the ultimate supremacy of Jehovah. Though Satan had gradually become a voluntary genius of evil, he still had to receive permission to afflict, as in the case of Job, and during the lifetime of Paul appears to have been still denied that 'power of death' which is first asserted by the unknown author of the Epistle to the Hebrews. [181] Satan's especial office was regarded as the infliction of disease. Paul delivers the incestuous Corinthian to Satan 'for the destruction of the flesh,' and he also attributed the sickness and death of many to their communicating unworthily. [182] He also recognises his own 'thorn in the flesh' as 'an angel from Satan,' though meant for his moral advantage. [183]

A penitential Psalm (Assyrian) reads as follows:--

O my Lord! my sins are many, my trespasses are great; and the wrath of the gods has plagued me with disease, and with sickness and sorrow.

I fainted, but no one stretched forth his hand! I groaned, but no one drew nigh! I cried aloud, but no one heard! O Lord, do not abandon thy servant! In the waters of the great storm seize his hand! The sins which he has committed turn them to righteousness. [184]

This Psalm would hardly be out of place in the English burial-service, which deplores death as a visitation of divine wrath. Wherever such an idea prevails, the natural outcome of it is a belief in demons of disease. In ancient Egypt--following the belief in Ra the Sun, from whose eyes all pleasing things proceeded, and Set, from whose eyes came all noxious things,--from the baleful light of Set's eyes were born the Seven Hathors, or Fates, whose names are recorded in the Book of the Dead. Mr. Fox Talbot has translated 'the Song of the Seven Spirits:'--

They are seven! they are seven! In the depths of ocean they are seven! In the heights of heaven they are seven! In the ocean-stream in a palace they were born! Male they are not: female they are not! Wives they have not: children are not born to them! Rule they have not: government they know not! Prayers they hear not! They are seven! they are seven! twice over they are seven! [185]

These demons have a way of herding together; the Assyrian tablets abundantly show that their occupation was manifested by diseases, physical and mental. One prescription runs thus:--

The god (...) shall stand by his bedside: Those seven evil spirits he shall root out, and shall expel them from his body: And those seven shall never return to the sick man again!

It is hardly doubtful that these were the seven said to have been cast out of Mary Magdalen; for their father Set is Shedîm (devils) of Deut. xxxii. 17, and Shaddai (God) of Gen. xvi. 1. But the fatal Seven turn to the seven fruits that charm away evil influences at parturition in Persia, also the Seven Wise Women of the same country traditionally present on holy occasions. When Ardá Viráf was sent to Paradise by a sacred narcotic to obtain intelligence of the true faith, seven fires were kept burning for seven days around him, and the seven wise women chanted hymns of the Avesta. [186]

The entrance of the seven evil powers into a dwelling was believed by the Assyrians to be preventible by setting in the doorway small images, such as those of the sun-god (Hea) and the moon-goddess, but especially of Marduk, corresponding to Serapis the Egyptian Esculapius. These powers were reinforced by writing holy texts over and on each side of the threshold. 'In the night time bind around the sick man's head a sentence taken from a good book.' The phylacteries of the Jews were originally worn for the same purpose. They were called Tefila, and were related to teraphim, the little idols [187] used by the Jews to keep out demons--such as those of Laban, which his daughter Rachel stole.

The resemblance of teraphim to the Tarasca (connected by some with G. teras, a monster) of Spain may be noted,--the serpent figures carried about in Corpus Christi processions. The latter word is known in the south of France also, and gave its name to the town Tarascon. The legend is that an amphibious monster haunted the Rhone, preventing navigation and committing terrible ravages, until sixteen of the boldest inhabitants of the district resolved to encounter it. Eight lost their lives, but the others, having destroyed the monster, founded the town of Tarascon, where the 'Fête de la tarasque' is still kept up. [188] Calmet, Sedley, and others, however, believe that teraphim is merely a modification of seraphim, and the Tefila, or phylacteries, of the same origin.

The phylactery was tied into a knot. Justin Martyr says that the Jewish exorcists used 'magic ties or knots.' The origin of this custom among the Jews and Babylonians may be found in the Assyrian Talismans preserved in the British Museum, of which the following has been translated by Mr. Fox Talbot:--

Hea says: Go, my son! Take a woman's kerchief, Bind it round thy right hand, loose it from the left hand! Knot it with seven knots: do so twice: Sprinkle it with bright wine: Bind it round the head of the sick man: Bind it round his hands and feet, like manacles and fetters. Sit down on his bed: Sprinkle holy water over him. He shall hear the voice of Hea, Darkness shall protect him! And Marduk, eldest son of Heaven, shall find him a happy habitation. [189]

The number seven holds an equally high degree of potency in Singhalese demonolatry, which is mainly occupied with diseases. The Capuas or conjurors of that island enumerate 240,000 magic spells, of which all except one are for evil, which implies a tolerably large preponderance of the emergencies in which their countervailing efforts are required by their neighbours. That of course can be easily appreciated by those who have been taught that all human beings are included under a primal curse. The words of Micah, 'Thou wilt cast all their sins into the depths of the sea,' [190] are recalled by the legend of these evil spells of Ceylon. The king of Oude came to marry one of seven princesses, all possessing præternatural powers, and questioned each as to her art. Each declared her skill in doing harm, except one who asserted her power to heal all ills which the others could inflict. The king having chosen this one as his bride, the rest were angry, and for revenge collected all the charms in the world, enclosed them in a pumpkin--the only thing that can contain spells without being reduced to ashes--and sent this infernal machine to their sister. It would consume everything for sixteen hundred miles round; but the messenger dropped it in the sea. A god picked it up and presented it to the King of Ceylon, and these, with the healing charm known to his own Queen, make the 240,000 spells known to the Capuas of that island, who have no doubt deified the rescuer of the spells on the same principle that inspires some seaside populations to worship Providence more devoutly on the Sunday after a valuable wreck in their neighbourhood.

The astrological origin of the evils ascribed to the Yakseyo (Demons) of Ceylon, and the horoscope which is a necessary preliminary to any dealing with their influences; the constant recurrence of the number seven, denoting origin with races holding the seven-planet theories of the universe; and the fact that all demons are said, on every Saturday evening, to attend an assemblage called Yaksa Sabawa (Witches' Sabbath), are facts that may well engage the attention of Comparative Mythologists. [191] In Dardistan the evil spirits are called Yatsh; they dwell 'in the regions of snow,' and the overthrow of their reign over the country is celebrated at the new moon of Daykio, the month preceding winter.

The largest proportion of the Disease Demons of Ceylon are descended from its Hunger Demons. The Preta there is much the same phantom as in Siam, only they are not quite so tall. [192] They range from two to four hundred feet in height, and are so numerous that a Pali Buddhist book exhorts people not to throw stones, lest they should harm one of these harmless starveling ghosts, who die many times of hunger, and revive to suffer on in expiation of their sins in a previous existence. They are harmless in one sense, but filthy; and bad smells are personified in them. The great mass of demons resemble the Pretraya, in that their king (Wessamony) has forbidden them to satisfy themselves directly upon their victims, but by inflicting diseases they are supposed to receive an imaginative satisfaction somewhat like that of eating people.

Reeri is the Demon of Blood-disease. His form is that of a man with face of a monkey; he is fiery red, rides on a red bull, and all hemorrhages and diseases of the blood are attributed to him. Reeri has eighteen different disguises or avatars. One of these recalls his earlier position as a demon of death, before Vishnu revealed to Capuas the means of binding him: he is now supposed to be present at every death-bed in the form of a delighted pigmy, one span and six inches high. On such occasions he bears a cock in one hand, a club in the other, and in his mouth a corpse. In the same country Maha Sohon is the 'great graveyard demon.' He resides in a hill where he is supposed to surround himself with carcases. He is 122 feet high, has four hands and three eyes, and a red skin. He has the head of a bear; the legend being that while quarrelling with another giant his head was knocked off, and the god Senasura was gracious enough to tear off the head of a bear and clap it on the decapitated giant. His capua threatens him with a repetition of this catastrophe if he does not spare any threatened victim who has called in his priestly aid. Except for this timidity about his head, Maha is formidable, being chief of 30,000 demons. But curiously enough he is said to choose for his steeds the more innocent animals,--goat, deer, horse, elephant, and hog.

One of the demons most dreaded in Ceylon is the 'Foreign Demon' Morotoo, said to have come from the coast of Malabar, and from his residence in a tree disseminated diseases which could not be cured until, the queen being afflicted, one capua was found able to master him. Seven-eighths of the charms used in restraining the disease-demons of Ceylon, of which I have mentioned but a few, are in the Tamil tongue. In various parts of India are found very nearly the same systematic demonolatry and 'devil-dancing;' for example in Travancore, to whose superstitions of this character the Rev. Samuel Mateer has devoted two chapters in his work 'The Land of Charity.'

The great demon of diseases in Ceylon is entitled Maha Cola Sanni Yakseya. His father, a king, ordered his queen to be put to death in the belief that she had been faithless to him. Her body was to be cut in two pieces, one of which was to be hung upon a tree (Ukberiya), the other to be thrown at its foot to the dogs. The queen before her execution said, 'If this charge be false, may the child in my womb be born this instant a demon, and may that demon destroy the whole of this city and its unjust king.' So soon as the executioners had finished their work, the two severed parts of the queen's body reunited, a child was born who completely devoured his mother, and then repaired to the graveyard (Sohon), where for a time he fattened on corpses. Then he proceeded to inflict mortal diseases upon the city, and had nearly depopulated it when the gods Iswara and Sekkra interfered, descending to subdue him in the disguise of mendicants. Possibly the great Maha Sohon mentioned above, and the Sohon (graveyard) from which Sanni dealt out deadliness, may be best understood by the statement of the learned writer from whom these facts are quoted, that, 'excepting the Buddhist priests, and the aristocrats of the land, whose bodies were burnt in regular funeral-piles after death, the corpses of the rest of the people were neither burned nor buried, but thrown into a place called Sohona, which was an open piece of ground in the jungle, generally a hollow among the hills, at the distance of three or four miles from any inhabited place, where they were left in the open air to be decomposed or devoured by dogs and wild beasts.' [193] There would appear to be even more ground for the dread of the Great Graveyard Demon in many parts of Christendom, where, through desire to preserve corpses for a happy resurrection, they are made to steal through the water-veins of the earth, and find their resurrection as fell diseases. Iswara and Sekkra were probably two reformers who persuaded the citizens to bury the poor deep in the earth; had they been wise enough to place the dead where nature would give them speedy resurrection and life in grass and flowers, it would not have been further recorded that 'they ordered him (the demon) to abstain from eating men, but gave him Wurrun or permission to inflict disease on mankind, and to obtain offerings.' This is very much the same as the privilege given our Western funeral agencies and cemeteries also; and when the Modliar adds that Sanni 'has eighteen principal attendants,' one can hardly help thinking of the mummers, gravediggers, chaplains, all engaged unconsciously in the work of making the earth less habitable.

The first of the attendants of this formidable avenger of his mother's wrongs is named Bhoota Sanni Yakseya, Demon of Madness. The whole demonolatry and devil-dancing of that island are so insane that one is not surprised that this Bhoota had but little special development. It is amid clear senses we might naturally look for full horror of madness, and there indeed do we find it. One of the most horrible forms of the disease-demon was the personification of madness among the Greeks, as Mania. [194] In the Hercules Furens of Euripides, where Madness, 'the unwedded daughter of black Night,' and sprung of 'the blood of Coelus,' is evoked from Tartarus for the express purpose of imbreeding in Hercules 'child-slaying disturbances of reason,' there is a suggestion of the hereditary nature of insanity. Obedient to the vindictive order of Juno, 'in her chariot hath gone forth the marble-visaged, all-mournful Madness, the Gorgon of Night, and with the hissing of hundred heads of snakes, she gives the goad to her chariot, on mischief bent.' We may plainly see that the religion which embodied such a form was itself ending in madness. Already ancient were the words mantikê (prophecy) and manikê (madness) when Plato cited their identity to prove one kind of madness the special gift of Heaven: [195] the notion lingers in Dryden's line, 'Great wits to madness sure are near allied;' and survive in regions where deference is paid to lunatics and idiots. Other diseases preserve in their names indications of similar association: e.g., Nympholepsy, St. Vitus's Dance, St. Anthony's Fire. Wesley attributes still epilepsy to 'possession.' This was in pursuance of ancient beliefs. Typhus, a name anciently given to every malady accompanied with stupor (typhos), seemed the breath of feverish Typhon. Max Müller connects the word quinsy with Sanskrit amh, 'to throttle,' and Ahi the throttling serpent, its medium being angina; and this again is kynanchê, dog-throttling, the Greek for quinsy. [196]

The genius of William Blake, steeped in Hebraism, never showed greater power than in his picture of Plague. A gigantic hideous form, pale-green, with the slime of stagnant pools, reeking with vegetable decays and gangrene, the face livid with the motley tints of pallor and putrescence, strides onward with extended arms like a sower sowing his seeds, only in this case the germs of his horrible harvest are not cast from the hands, but emanate from the fingers as being of their essence. Such, to the savage mind, was the embodiment of malaria, sultriness, rottenness, the putrid Pretraya, invisible, but smelt and felt. Such, to the ignorant imagination, is the Destroying Angel to which rationalistic artists and poets have tried to add wings and majesty; but which in the popular mind was no doubt pictured more like this form found at Ostia (fig. 16), and now passing in the Vatican for a Satan,--probably a demon of the Pontine Marshes, and of the fever that still has victims of its fatal cup (p. 291). In these fearful forms the poor savage believed with such an intensity that he was able to shape the brain of man to his phantasy; bringing about the anomaly that the great reformer, Luther, should affirm, even while fighting superstition, that a Christian ought to know that he lives in the midst of devils, and that the devil is nearer to him than his coat or his shirt. The devils, he tells us, are all around us, and are at every moment seeking to ensnare our lives, salvation, and happiness. There are many of them in the woods, waters, deserts, and in damp muddy places, for the purpose of doing folk a mischief. They also house in the dense black clouds, and send storms, hail, thunder and lightning, and poison the air with their infernal stench. In one place, Luther tells us that the devil has more vessels and boxes full of poison, with which he kills people, than all the apothecaries in the whole world. He sends all plagues and diseases among men. We may be sure that when any one dies of the pestilence, is drowned, or drops suddenly dead, the devil does it.

Knowing nothing of Zoology, the primitive man easily falls into the belief that his cattle--the means of life--may be the subjects of sorcery. Jesus sending devils into a herd of swine may have become by artificial process a divine benefactor in the eye of Christendom, but the myth makes Him bear an exact resemblance to the dangerous sorcerer that fills the savage mind with dread. It is probable that the covetous eye denounced in the decalogue means the evil eye, which was supposed to blight an object intensely desired but not to be obtained.

Gopolu, already referred to (p. 136) as the Singhalese demon of hydrophobia, bears the general name of the 'Cattle Demon.' He is said to have been the twin of the demigod Mangara by a queen on the Coromandel coast. The mother died, and a cow suckled the twins, but afterwards they quarrelled, and Gopolu being slain was transformed into a demon. He repaired to Arangodde, and fixed his abode in a Banyan where there is a large bee-hive, whence proceed many evils. The population around this Banyan for many miles being prostrated by diseases, the demigod Mangara and Pattini (goddess of chastity) admonished the villagers to sacrifice a cow regularly, and thus they were all resuscitated. Gopolu now sends all cattle diseases. India is full of the like superstitions. The people of Travancore especially dread the demon Madan, 'he who is like a cow,' believed to strike oxen with sudden illness,--sometimes men also.

In Russia we find superstition sometimes modified by common sense. Though the peasant hopes that Zegory (St. George) will defend his cattle, he begins to see the chief foes of his cattle. As in the folk-song--

We have gone around the field, We have called Zegory.... O thou, our brave Zegory, Save our cattle, In the field and beyond the field, In the forest and beyond the forest, Under the bright moon, Under the red sun, From the rapacious wolf, From the cruel bear, From the cunning beast. [197]

Nevertheless when a cattle plague occurs many villages relapse into a normally extinct state of mind. Thus, a few years ago, in a village near Moscow, all the women, having warned the men away, stripped themselves entirely naked and drew a plough so as to make a furrow entirely around the village. At the point of juncture in this circle they buried alive a cock, a cat, and a dog. Then they filled the air with lamentations, crying--'Cattle Plague! Cattle Plague! spare our cattle! Behold, we offer thee cock, cat, and dog!' The dog is a demonic character in Russia, while the cat is sacred; for once when the devil tried to get into Paradise in the form of a mouse, the dog allowed him to pass, but the cat pounced on him--the two animals being set on guard at the door. The offering of both seems to represent a desire to conciliate both sides. The nudity of the women may have been to represent to the hungry gods their utter poverty, and inability to give more; but it was told me in Moscow, where I happened to be staying at the time, that it would be dangerous for any man to draw near during the performance.

In Altmark [198] the demons who bewitch cattle are called 'Bihlweisen,' and are believed to bury certain diabolical charms under thresholds over which the animals are to pass, causing them to wither away, the milk to cease, etc. The prevention is to wash the cattle with a lotion of sea cabbage boiled with infusion of wine. In the same province it is related that once there appeared in a harvest-field at one time fifteen, at another twelve men (apparently), the latter headless. They all laboured with scythes, but though the rustling could be heard no grain fell. When questioned they said nothing, and when the people tried to seize them they ran away, cutting fruitlessly as they ran. The priests found in this a presage of the coming cattle plague. The Russian superstition of the plough, above mentioned, is found in fragmentary survivals in Altmark. Thus, it is said that to plough around a village and then sit under the plough (placed upright), will enable any one to see the witches; and in some villages, some bit of a plough is hung up over a doorway through which cattle pass, as no devil can then approach them. The demons have a natural horror of honest work, and especially the culture of the earth. Goethe, as we have seen, notes their fear of roses: perhaps he remembered the legend of Aspasia, who, being disfigured by a tumour on the chin, was warned by a dove-maiden to dismiss her physicians and try a rose from the garland of Venus; so she recovered health and beauty.

XII. DEATH

The Vendetta of Death--Teoyaomiqui--Demon of Serpents--Death on the Pale Horse--Kali--War-gods--Satan as Death--Death-beds-- Thanatos--Yama--Yimi--Towers of Silence--Alcestis--Hercules, Christ, and Death--Hel--Salt--Azraël--Death and the Cobbler-- Dance of Death--Death as Foe, and as Friend.

Savage races believe that no man dies except by sorcery. Therefore every death must be avenged. The Actas of the Philippines regard the 'Indians' as the cause of the deaths among them; and when one of them loses a relative, he lurks and watches until he has spied an 'Indian' and killed him. [199] It is a progress from this when primitive man advances to the belief that the fatal sorcerer is an invisible man--a demon. When this doctrine is taught in the form of a belief that death entered the world through the machinations of Satan, and was not in the original scheme of creation, it is civilised; but when it is inculcated under a set of African or other non-christian names, it is barbarian.

The following sketch, by Mr. Gideon Lang, will show the intensity of this conviction among the natives of New South Wales:--

'While at Nanima I constantly saw one of these, named Jemmy, a remarkably fine man, about twenty-eight years of age, who was the 'model Christian' of the missionaries, and who had been over and over again described in their reports as a living proof that, taken in infancy, the natives were as capable of being truly christianised as a people who had had eighteen centuries of civilisation. I confess that I strongly doubted, but still there was no disputing the apparent facts. Jemmy was not only familiar with the Bible, which he could read remarkably well, but he was even better acquainted with the more abstruse tenets of christianity; and so far as the whites could see, his behaviour was in accordance with his religious acquirements. One Sunday morning I walked down to the black fellows' camp, to have a talk with Jemmy, as usual. I found him sitting in his gunyah, overlooking a valley of the Macquarrie, whose waters glanced brightly in the sunshine of the delicious spring morning. He was sitting in a state of nudity, excepting his waistcloth, very earnestly reading the Bible, which indeed was his constant practice; and I could see that he was perusing the Sermon on the Mount. I seated myself, and waited till he concluded the chapter, when he laid down the Bible, folded his hands, and sat with his eyes fixed abstractedly on his fire. I bade him 'good morning,' which he acknowledged without looking up. I then said, 'Jemmy, what is the meaning of your spears being stuck in a circle round you?' He looked me steadily in the eyes, and said solemnly and with suppressed fierceness, 'Mother's dead!' I said that I was very sorry to hear it; 'but what had her death to do with the spears being stuck around so?' 'Bogan black-fellow killed her!' was the fierce and gloomy reply. 'Killed by a Bogan black!' I exclaimed: 'why, your mother has been dying a fortnight, and Dr. Curtis did not expect her to outlive last night, which you know as well as I do.' His only reply was a dogged repetition of the words: 'A Bogan black-fellow killed her!' I appealed to him as a Christian--to the Sermon on the Mount, that he had just been reading; but he absolutely refused to promise that he would not avenge his mother's death. In the afternoon of that day we were startled by a yell which can never be mistaken by any person who has once heard the wild war-whoop of the blacks when in battle array. On marching out we saw all the black fellows of the neighbourhood formed into a line, and following Jemmy in an imaginary attack upon an enemy. Jemmy himself disappeared that evening. On the following Wednesday morning I found him sitting complacently in his gunyah, plaiting a rope of human hair, which I at once knew to be that of his victim. Neither of us spoke; I stood for some time watching him as he worked with a look of mocking defiance of the anger he knew I felt. I pointed to a hole in the middle of his fire, and said, 'Jemmy, the proper place for your Bible is there.' He looked up with his eyes flashing as I turned away, and I never saw him again. I afterwards learned that he had gone to the district of the Bogan tribe, where the first black he met happened to be an old friend and companion of his own. This man had just made the first cut in the bark of a tree, which he was about to climb for an opossum; but on hearing footsteps he leaped down and faced round, as all blacks do, and whites also, when blacks are in question. Seeing that it was only Jemmy, however, he resumed his occupation, but had no sooner set to work than Jemmy sent a spear through his back and nailed him to the tree. [200]

Perhaps if Jemmy could have been cross-examined by the non-missionary mind, he might have replied with some effect to Mr. Lang's suggestion that he ought to part with his Bible. Surely he must have found in that volume a sufficient number of instances to justify his faith in the power of demons over human health and life. Might he not have pondered the command, 'thou shalt not suffer a witch to live,' and imagined that he was impaling another Manasseh, who 'used enchantments, and used witchcraft, and dealt with a familiar spirit, and with wizards (and) wrought much evil in the sight of the Lord to provoke Him to anger.' [201] Those who hope that the Bible may carry light into the dark places of superstition and habitations of cruelty might, one would say, reflect upon the long contest which European science had with bibliolators in trying to relieve the popular mind from the terrors of witchcraft, whose genuineness it was (justly) declared contrary to the Scriptures to deny. There are districts in Great Britain and America, and many more on the continent of Europe, where the spells that waste and destroy are still believed in; where effigies of wax or even onions are labelled with some hated name, and stuck over with pins, and set near fires to be melted or dried up, in full belief that some subject of the charm will be consumed by disease along with the object used. Under every roof where such coarse superstitions dwell the Bible dwells beside them, and experience proves that the infallibility of all such talismans diminishes pari passu.

What the savage is really trying to slay when he goes forth to avenge his relative's death on the first alien he finds may be seen in the accompanying figure (17), which represents the Mexican goddess of death--Teoyaomiqui. The image is nine feet high, and is kept in a museum in the city of Mexico. Mr. Edward B. Tylor, from whose excellent book of travels in that country the figure is copied, says of it:--'The stone known as the statue of the war-goddess is a huge block of basalt covered with sculptures. The antiquaries think that the figures on it stand for different personages, and that it is three gods--Huitzilopochtli, the god of war; Teoyaomiqui, his wife; and Mictlanteuctli, the god of hell. It has necklaces of alternate hearts and dead men's hands, with death's heads for a central ornament. At the bottom of the block is a strange sprawling figure, which one cannot see now, for it is the base which rests on the ground; but there are two shoulders projecting from the idol, which show plainly that it did not stand on the ground, but was supported aloft on the tops of two pillars. The figure carved upon the bottom represents a monster holding a skull in each hand, while others hang from his knees and elbows. His mouth is a mere oval ring, a common feature of Mexican idols, and four tusks project just above it. The new moon laid down like a bridge forms his forehead, and a star is placed on each side of it. This is thought to have been the conventional representation of Mictlanteuctli (Lord of the Land of the Dead), the god of hell, which was a place of utter and eternal darkness. Probably each victim as he was led to the altar could look up between the two pillars and see the hideous god of hell staring down upon him from above. There is little doubt that this is the famous war-idol which stood on the great teocalli of Mexico, and before which so many thousands of human beings were sacrificed. It lay undisturbed under ground in the great square, close to the very site of the teocalli, until sixty years ago. For many years after that it was kept buried, lest the sight of one of their old deities might be too exciting for the Indians, who, as I have mentioned before, had certainly not forgotten it, and secretly ornamented it with garlands of flowers while it remained above ground.'

If my reader will now turn to the (fig. 11) portrait of the Demon of Serpents, he will find a conception fundamentally similar to the Mexican demoness of death or slaughter, but one that is not shut up in a museum of antiquities; it still haunts and terrifies a vast number of the people born in Ceylon. He is the principal demon invoked in Ceylon by the malignant sorcerers in performing the 84,000 different charms that afflict evils (Hooniyan). His general title is Oddy Cumara Hooniyan Dewatawa; but he has a special name for each of his six several apparitions, the chief of these being Cali Oddisey, or demon of incurable diseases, therefore of death, and Naga Oddisey, demon of serpents--deadliest of animals. Beneath him is the Pale Horse which has had its career so long and far,--even to the White Mare on which, in some regions, Christ is believed to revisit the earth every Christmas; and also the White Mare of Yorkshire Folklore which bore its rider from Whitestone Cliff to hell. This Singhalese form also, albeit now associated by Capuas with fatal disease, was probably at first, like the Mexican, a war goddess and god combined, as is shown by the uplifted sword, and reeking hand uplifted in triumph. Equally a god of war is our 'Death on the Pale Horse,' which christian art, following the so-called Apocalypse, has made so familiar. 'I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given to him over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.' This is but a travesty of the Greek Ares, the Roman Mars, or god of War. In the original Greek-form Ares was not solely the god of war, but of destruction generally. In the OEdipus Tyrannus of Sophocles we have the popular conception of him as one to whom the deadly plague is ascribed. He is named as the 'god unhonoured among gods,' and it is said:--'The city is wildly tossing, and no more can lift up her head from the waves of death; withering the ripening grain in the husks, withering the kine in their pastures; blighted are the babes through the failing labours of women; the fire-bearing god, horrid Pestilence, having darted down, ravages the city; by him the house of Cadmus is empty, and dark Hades enriched with groans and lamentations.'

Mother of the deadliest 'Calas' of Singhalese demonolatry, sister of the Scandinavian Hel in name and nature, is Kali. Although the Hindu writers repudiate the idea that there is any devil among their three hundred and thirty millions of deities, it is difficult to deny Kali that distinction. Her wild dance of delight over bodies of the slain would indicate pleasure taken in destruction for its own sake, so fulfilling the definition of a devil; but, on the other hand, there is a Deccan legend that reports her as devouring the dead, and this would make her a hunger-demon. We may give her the benefit of the doubt, and class her among the demons--or beings whose evil is not gratuitous--all the more because the mysteriously protruding tongue, as in the figure of Typhon (p. 185), probably suggests thirst. Hindu legend does, indeed, give another interpretation, and say that when she was dancing for joy at having slain a hundred-headed giant demigod, the shaking of the earth was so formidable that Siva threw himself among the slain, whom she was crushing at every step, hoping to induce her to pause; but when, unheeding, she trod upon the body of her husband, she paused and thrust out her tongue from surprise and shame. The Vedic description of Agni as an ugra (ogre), with 'tongue of flame,' may better interpret Kali's tongue. It is said Kali is pleased for a hundred years by the blood of a tiger; for a thousand by that of a man; for a hundred thousand by the blood of three men.

How are we to understand this dance of Death, and the further legend of her tossing dead bodies into the air for amusement? Such a figure found among a people who shudder at taking life even from the lowest animals is hardly to be explained by the destructiveness of nature personified in her spouse Siva. Her looks and legends alike represent slaughter by human violence. May it not be that Kali represents some period when the abhorrence of taking life among a vegetarian people--a people, too, believing in transmigration--might have become a public danger? When Krishna appeared it was, according to the Bhágavat Gita, as charioteer inciting Arjoon to war. There must have been various periods when a peaceful people must fall victims to more savage neighbours unless they could be stimulated to enter on the work of destruction with a light heart. There may have been periods when the human Kalis of India might stimulate their husbands and sons to war with such songs as the women of Dardistan sing at the Feast of Fire (p. 91). The amour of the Greek goddess of Beauty with the god of War, leaving her lawful spouse the Smith, is full of meaning. The Assyrian Venus, Istar, appeared in a vision, with wings and halo, bearing a bow and arrow for Assurbanipal. The Thug appears to have taken some such view of Kali, regarding her as patroness of their plan for reducing population. They are said to have claimed that Kali left them one of her teeth for a pickaxe, her rib for a knife, her garment's hem for a noose, and wholesale murder for a religion. The uplifted right hand of the demoness has been interpreted as intimating a divine purpose in the havoc around her, and it is possible that some such euphemism attached to the attitude before the Thug accepted it as his own benediction from this highly decorated personage of human cruelty.

The ancient reverence for Kali has gradually passed to her mitigated form--Durgá. Around her too are visible the symbols of destruction; but she is supposed to be satisfied with pumpkin-animals, and the weapons in her ten hands are believed to be directed against the enemies of the gods, especially against the giant king Muheshu. She is mother of the beautiful boy Kartik, and of the elephant-headed inspirer of knowledge Ganesa. She is reverenced now as female energy, the bestower of beauty and fruitfulness on women.

The identity of war-gods and death-demons, in the most frightful conceptions which have haunted the human imagination, is of profound significance. These forms do not represent peaceful and natural death, not death by old age,--of which, alas, those who cowered before them knew but little,--but death amid cruelty and agony, and the cutting down of men in the vigour of life. That indeed was terrible,--even more than these rude images could describe.

But there are other details in these hideous forms. The priest has added to the horse and sword of war the adored serpent, and hideous symbols of the 'Land of the Dead.' For it is not by terror of death, but of what he can persuade men lies beyond, that the priest has reigned over mankind. When Isabel (in 'Measure for Measure') is trying to persuade her brother that the sense of death lies most in apprehension, the sentenced youth still finds death 'a fearful thing.'

Ay, but to die, and go we know not where; To lie in cold obstruction and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods, or to reside In thrilling region of thick-ribbed ice; To be imprisoned in the viewless winds, And blown with violence round about The pendent world; or to be worse than worst Of these, that lawless and incertain thoughts Imagine howling!--'tis too horrible! The weariest and most loathed worldly life That age, ache, penury, and imprisonment Can lay on nature, is a paradise To what we fear of death.

In all these apprehensions of Claudio there is no thought of annihilation. What if he had seen death as an eternal sleep? Let Hamlet answer:--

To die,--to sleep;-- No more;--and, by a sleep, to say we end The heartache, and the thousand natural shocks That flesh is heir to,--'tis a consummation Devoutly to be wished.

The greater part of the human race still belong to religions which, in their origin, promised eternal repose as the supreme final bliss. Had death in itself possessed horrors for the human mind, the priest need not have conjured up beyond it those tortures that haunted Hamlet with the dreams of possible evils beyond which make even the wretched rather bear the ills they have than fly to others they know not of. It would have been sufficient sanction to promise immortality only to the pious. But as in Claudio's shuddering lines every hell is reflected--whether of ice, fire, or brutalisation--so are the same mixed with the very blood and brain of mankind, even where literally outgrown. Christianity superadded to the horrors by importing the idea that death came by human sin, and so by gradual development ascribing to Satan the power of death; thereby forming a new devil who bore in him the power to make death a punishment. How the matter stood in the mediæval belief may be seen in figure 19, copied from a Russian Bible of the (early) seventeenth century. Lazarus smiles to see the nondescript soul of Dives torn from him by a devil with a hook, while another drowns the groans with a drum. Satan squirts an infernal baptism on the departing soul, and the earnest co-operation of the archangel justifies the satisfaction of Lazarus and Abraham. This degraded belief is still found in the almost gleeful pulpit-picturings of physical agonies as especially attending the death-beds of 'infidels,'--as Voltaire and Paine,--and its fearful result is found in the degree to which priesthoods are still able to paralyse the common sense and heart of the masses by the barbaric ceremonials with which they are permitted to surround death, and the arrogant line drawn between unorthodox goats and credulous sheep by 'consecrated' ground.

Mr. Keary, in his interesting volume on 'The Dawn of History,' [202] says that it has been suggested that the youthful winged figure on the drum of a column from the temple of Diana at Ephesus to the British Museum, may be a representation of Thanatos, Death. It would be agreeable to believe that the only important representation of Death left by Greek art is that exquisite figure, whose high tribute is that it was at first thought to be Love! The figure is somewhat like the tender Eros of preraphaelite art, and with the same look of gentle melancholy. Such a sweet and simple form of Death would be worthy of the race which, amid all the fiery or cold rivers of the underworld which had gathered about their religion, still saw running there the soft-flowing stream of forgetfulness. Let one study this Ephesian Thanatos reverently--no engraving or photograph can do it even partial justice--and then in its light read those myths of Death which seem to bear us back beyond the savagery of war and the artifices of priests to the simpler conceptions of humanity. In its serene light we may especially read both Vedic and Iranian hymns and legends of Yama.

The first man to die became the powerful Yama of the Hindus, the monarch of the dead; and he became invested with metaphors of the sun that had set. [203] In a solemn and pathetic hymn of the Vedas he is said to have crossed the rapid waters, to have shown the way to many, to have first known the path on which our fathers crossed over. [204] But in the splendours of sunset human hope found its prophetic pictures of a heaven beyond. The Vedic Yama is ever the friend. It is one of the most picturesque facts of mythology that, after Yama had become in India another name for Death, the same name reappeared in Persia, and in the Avesta, as a type at once of the Golden Age in the past and of paradise in the future.

Such was the Iranian Yima. He was that 'flos regum' whose reign represented 'the ideal of human happiness, when there was neither illness nor death, neither heat nor cold,' and who has never died. 'According to the earlier traditions of the Avesta,' says Spiegel, 'Jima does not die, but when evil and misery began to prevail on earth, retires to a smaller space, a kind of garden or Eden, where he continues his happy life with those who remained true to him.' Such have been the antecedents of our many beautiful myths which ascribe even an earthly immortality to the great,--to Barbarossa, Arthur, and even to the heroes of humbler races as Hiawatha and Glooscap of North American tribes,--who are or were long believed to have 'sailed into the fiery sunset,' or sought some fair island, or to slumber in a hidden grotto, until the world shall have grown up to their stature and requires their return.

In Japan the (Sintoo) god of Hell is now named Amma, and one may suspect that it is some imitation of Yama by reason of the majesty he still retains in the popular conception. He is pictured as a grave man, wearing a judicial cap, and no cruelties seem to be attributed to him personally, but only to the oni or demons of whom he is lord.

The kindly characteristics of the Hindu Yama seem in Persia to have been replaced by the bitterness of Ahriman, or Anra-mainyu, the genius of evil. Haug interprets Anra-mainyu as 'Death-darting.' The word is the counterpart of Speñta-mainyu, and means originally the 'throttling spirit;' being thus from anh, philologically the root of all evil, as we shall see when we consider its dragon brood. Professor Whitney translates the name 'Malevolent.' But, whatever may be the meaning of the word, there is little doubt that the Twins of Vedic Mythology--Yama and Yami--parted into genii of Day and Night, and were ultimately spiritualised in the Spirit of Light and Spirit of Darkness which have made the basis of all popular theology from the time of Zoroaster until this day.

Nothing can be more remarkable than the extreme difference between the ancient Hindu and the Persian view of death. As to the former it was the happy introduction to Yama, to the latter it was the visible seal of Ahriman's equality with Ormuzd. They held it in absolute horror. The Towers of Silence stand in India to-day as monuments of this darkest phase of the Parsî belief. The dead body belonged to Ahriman, and was left to be devoured by wild creatures; and although the raising of towers for the exposure of the corpse, so limiting its consumption to birds, has probably resulted from a gradual rationalism which has from time to time suggested that by such means souls of the good may wing their way to Ormuzd, yet the Parsî horror of death is strong enough to give rise to such terrible suspicions, even if they were unfounded, as those which surrounded the Tower (Khao's Dokhma) in June 1877. The strange behaviour of the corpse-bearers in leaving one tower, going to another, and afterwards (as was said) secretly repairing to the first, excited the belief that a man had been found alive in the first and was afterwards murdered. The story seems to have begun with certain young Parsîs themselves, and, whether it be true or not, they have undoubtedly interpreted rightly the ancient feeling of that sect with regard to all that had been within the kingdom of the King of Terrors. 'As sickness and death,' says Professor Whitney, 'were supposed to be the work of the malignant powers, the dead body itself was regarded with superstitious horror. It had been gotten by the demons into their own peculiar possession, and became a chief medium through which they exercised their defiling action upon the living. Everything that came into its neighbourhood was unclean, and to a certain extent exposed to the influences of the malevolent spirits, until purified by the ceremonies which the law prescribed.' [205] It is to be feared this notion has crept in among the Brahmans; the Indian Mirror (May 26, 1878) states that a Chandernagore lady, thrown into the Ganges, but afterwards found to be alive, was believed to be possessed by Dano (an evil spirit), and but for interference would have found a watery grave. The Jews also were influenced by this belief, and to this day it is forbidden a Cohen, or descendant of the priesthood, to touch a dead body.

The audience at the Crystal Palace which recently witnessed the performance of Euripides' Alcestis could hardly, it is to be feared, have realised the relation of the drama to their own religion. Apollo induces the Fates to consent that Admetus shall not die provided he can find a substitute for him. The pure Alcestis steps forward and devotes herself to death to save her husband. Apollo tries to persuade Death to give back Alcestis, but Death declares her fate demanded by justice. While Alcestis is dying, Admetus bids her entreat the gods for pity; but Alcestis says it is a god who has brought on the necessity, and adds, 'Be it so!' She sees the hall of the dead, with 'the winged Pluto staring from beneath his black eyebrows.' She reminds her husband of the palace and regal sway she might have enjoyed in Thessaly had she not left it for him. Bitterly does Pheres reproach Admetus for accepting life through the vicarious suffering and death of another. Then comes Hercules; he vanquishes Death; he leads forth Alcestis from 'beneath into the light.' With her he comes into the presence of Admetus, who is still in grief. Admetus cannot recognise her; but when he recognises her with joy, Hercules warns him that it is not lawful for Alcestis to address him 'until she is unbound from her consecration to the gods beneath, and the third day come.'

It only requires a change of names to make Alcestis a Passion-play. The unappeasable Justice which is as a Fate binding the deity, though it may be satisfied vicariously; 'the last enemy, Death;' the atonement by sacrifice of a saintly human being, who from a father's palace is brought by love freely to submit to death; the son of a god (Zeus) by a human mother (Alcmene),--the god-man Herakles,--commissioned to destroy earthly evils by twelve great labours,--descending to conquer Death and deliver one of the 'spirits in prison,' the risen spirit not recognised at first, as Jesus was not by Mary; still bearing the consecration of the grave until the third day, which forbade intercourse with the living ('Touch me not, for I am not yet ascended to my Father'),--all these enable us to recognise in the theologic edifices around us the fragments of a crumbled superstition as they lay around Euripides.

From the old pictures of Christ's triumphal pilgrimage on earth parallels for the chief Labours of Herakles may be found; he is shown treading on the lion, asp, dragon, and Satan; but the myths converge in the Descent into Hades and the conquest of Death. It is remarkable that in the old pictures of Christ delivering souls from Hades he is generally represented closely followed by Eve, whose form so emerging would once have been to the greater part of Europe already familiar as that of either Alcestis, Eurydice, or Persephone. One of the earliest examples of the familiar subject, Christ conquering Death, is that in the ancient (tenth century) Missal of Worms,--that city whose very name preserves the record of the same combat under the guise of Siegfried and the Worm, or Dragon. The cross is now the sword thrust near the monster's mouth. The picture illustrates the chant of Holy Week: 'De manu Mortis liberabo eos, de Morte redimam eos. Ero Mors tua, O Mors; morsus tuus ero, inferne.' From the pierced mouth of Death are vomited flames, which remind us of his ethnical origin; but it is not likely that to the christianised pagans of Worms the picture could ever have conveyed an impression so weirdly horrible as that of their own goddess of Death, Hel. 'Her hall is called Elvidnir, realm of the cold storm: Hunger is her table; Starvation, her knife; Delay, her man; Slowness, her maid; Precipice, her threshold; Care, her bed; burning Anguish, the hangings of her apartments. One half of her body is livid, the other half the colour of human flesh.'

With the Scandinavian picture of the Abode of Death may be compared the description of the Abode of Nin-ki-gal, the Assyrian Queen of Death, from a tablet in the British Museum, translated by Mr. Fox Talbot: [206]--

To the House men enter--but cannot depart from: To the Road men go--but cannot return. The abode of darkness and famine Where Earth is their food: their nourishment Clay: Light is not seen; in darkness they dwell: Ghosts, like birds, flutter their wings there; On the door and the gate-posts the dust lies undisturbed.

The Semitic tribes, undisturbed, like the importers of their theology into the age of science, by the strata in which so many perished animal kingdoms are entombed, attributed all death, even that of animals, to the forbidden fruit. The Rabbins say that not only Adam and Eve, but the animals in Eden, partook of that fruit, and came under the power of Sammaël the Violent, and of his agent Azraël, the demon of Death. The Phoenix, having refused this food, preserved the power of renovating itself.

It is an example of the completeness and consistency with which a theory may organise its myth, that the fatal demons are generally represented as abhorring salt--the preserving agent and foe of decay. The 'Covenant of Salt' among the ancient Jews probably had this significance, and the care with which Job salted his sacrifice is considered elsewhere. Aubrey says, 'Toads (Saturnine animals) are killed by putting salt upon them. I have seen the experiment.' The devil, as heir of death-demons, appears in all European folklore as a hater of salt. A legend, told by Heine, relates that a knight, wandering in a wood in Italy, came upon a ruin, and in it a wondrous statue of the goddess of Beauty. Completely fascinated, the knight haunted the spot day after day, until one evening he was met by a servant who invited him to enter a villa which he had not before remarked. What was his surprise to be ushered into the presence of the living image of his adored statue! Amid splendour and flowers the enraptured knight is presently seated with his charmer at a banquet. Every luxury of the world is there; but there is no salt! When he hints this want a cloud passes over the face of his Beauty. Presently he asks the servant to bring the salt; the servant does so, shuddering; the knight helps himself to it. The next sip of wine he takes elicits a cry from him: it is liquid fire. Madness seizes upon him; caresses, burning kisses follow, until he falls asleep on the bosom of his goddess. But what visions! Now he sees her as a wrinkled crone, next a great bat bearing a torch as it flutters around him, and again as a frightful monster, whose head he cuts off in an agony of terror. When the knight awakes it is in his own villa. He hastens to his ruin, and to the beloved statue; he finds her fallen from the pedestal, and the beautiful head cut from the neck lying at her feet.

The Semitic Angel of Death is a figure very different from any that we have considered. He is known in theology only in the degradation which he suffered at the hands of the Rabbins, but originally was an awful but by no means evil genius. The Persians probably imported him, under the name of Asuman, for we do not find him mentioned in their earlier books, and the name has a resemblance to the Hebrew shamad, to exterminate, which would connect it with the biblical 'destroyer' Abaddon. This is rendered more probable because the Zoroastrians believed in an earlier demon, Vízaresha, who carried souls after death to the region of Deva-worshippers (India). The Chaldaic Angel of Death, Malk-ad Mousa, may have derived his name from the legend of his having approached Moses with the object of forcing his soul out of his body, but, being struck by the glory of Moses' face, and by virtue of the divine name on his rod, was compelled to retire. The legend is not so ancient as the name, and was possibly a Saga suggested by the name; it is obviously the origin of the tradition of the struggle between Michael and Satan for the body of Moses (Jude 9.). This personification had thus declined among the Jews into being evil enough to be identified with Samaël,--who, in the Book of the Assumption of Moses, is named as his assailant,--and subsequently with Satan himself, named in connection with the New Testament version. It was on account of this degradation of a being described in the earlier books of the Bible as the commissioner of Jehovah that there was gradually developed among the Jews two Angels of Death, one (Samaël, or his agent Azraël) for those who died out of the land of Israel, and the other (Gabriel) for those who had the happier lot of dying in their own country.

This relegation of Samaël to the wandering Jews--who if they died abroad were not supposed to reach Paradise with facility, if at all--is significant. For Samaël is pretty certainly a conception borrowed from outlying Semitic tribes. What that conception was we find in Job xviii. 18, where he is 'the king of Terrors,' and still more in the Arabic Azraël. The legend of this typical Angel of Death is that he was promoted to his high office for special service. When Allah was about to create man he sent the angels Gabriel, Michael, and Israfil to the earth to bring clay of different colours for that purpose; but the Earth warned them that the being about to be formed would rebel against his creator and draw down a curse upon her (the Earth), and they returned without bringing the clay. Then Azraël was sent by Allah, and he executed his commission without fear; and for this he was appointed the angel to separate souls from bodies. Azraël had subordinate angels under him, and these are alluded to in the opening lines of the Sura 79 of the Koran:

By the angels who tear forth the souls of some with violence; And by those who draw forth the souls of others with gentleness.

The souls of the righteous are drawn forth with gentleness, those of the wicked torn from them in the way shown in the Russian picture (Fig. 19), which is indeed an illustration of the same mythology.

These terrible tasks were indeed such as were only too likely to bring Azraël into the evil repute of an executioner in the course of time; but no degradation of him seems to have been developed among the Moslems. He seems to have been associated in their minds with Fate, and similar stories were told of him. Thus it is related that once when Azraël was passing by Solomon he gazed intently upon a man with whom Solomon was conversing. Solomon told his companion that it was the Angel of Death who was looking at him, and the man replied, 'He seems to want me: order the wind to carry me from hence into India;' when this was done Azraël approached Solomon and said, 'I looked earnestly at that man from wonder, for I was commanded to take his soul in India.' [207]

Azraël was often represented as presenting to the lips a cup of poison. It is probable that this image arose from the ancient ordeal by poison, whereby draughts, however manipulated beforehand with reference to the results, were popularly held to be divinely mingled for retributive or beneficent effects. 'Cup' thus became among Semitic tribes a symbol of Fate. The 'cup of consolation,' 'cup of wrath,' 'cup of trembling,' which we read of in the Old Testament; the 'cup of blessing,' and 'cup of devils,' spoken of by Paul, have this significance. The cup of Nestor, ornamented with the dove (Iliad, xi. 632), was probably a 'cup of blessing,' and Mr. Schliemann has found several of the same kind at Mycenæ. The symbol was repeatedly used by Christ,--'Let this cup pass from me,' 'The cup that my Father hath given me to drink shall I not drink it,' 'Are ye able to drink of the cup that I drink of,'--and the familiar association of Azraël's cup is expressed in the phrase 'taste of death.'

One of the most pleasing modifications of the belief in the Angel of Death is that found by Lepsius [208] among the Mohammedan negroes of Kordofan. Osraîn (Azraël), it is said, receives the souls of the dead, and leads the good to their reward, the bad to punishment. 'He lives in a tree, el segerat mohana (the tree of fulfilling), which has as many leaves as there are inhabitants in the world. On each leaf is a name, and when a child is born a new one grows. If any one becomes ill his leaf fades, and should he be destined to die, Osraîn breaks it off. Formerly he used to come visibly to those whom he was going to carry away, and thus put them in great terror. Since the prophet's time, however, he has become invisible; for when he came to fetch Mohammed's soul he told him that it was not good that by his visible appearance he should frighten mankind. They might then easily die of terror, before praying; for he himself, although a courageous and spirited man, was somewhat perturbed at his appearance. Therefore the prophet begged God to make Osraîn invisible, which prayer was granted.' Mr. Mackenzie adds on this that, among the Moravian Jews, at new moon a branch is held in its light, and the name of a person pronounced: his face will appear between the horns of the moon, and should he be destined to die the leaves will fade.

Mr. John Ruskin has been very severe upon the Italians for the humour with which they introduce Death as a person of their masque. 'When I was in Venice in 1850,' he says, 'the most popular piece of the comic opera was "Death and the Cobbler," in which the point of the plot was the success of a village cobbler as a physician, in consequence of the appearance of Death to him beside the bed of every patient who was not to recover; and the most applauded scene in it was one in which the physician, insolent in success, and swollen with luxury, was himself taken down into the abode of Death, and thrown into an agony of terror by being shown lives of men, under the form of wasting lamps, and his own ready to expire.' On which he expresses the opinion that 'this endurance of fearful images is partly associated with indecency, partly with general fatuity and weakness of mind.' [209] But may it not rather be the healthy reaction from morbid images of terror, with which a purely natural and inevitable event has so long been invested by priests, and portrayed in such popular pictures as 'The Dance of Death?' The mocking laughter with which the skeletons beset the knight in our picture (Fig. 20), from the wall of La Chaise Dieu, Auvergne, marks the priestly terrorism, which could not fail to be vulgarised even more by the frivolous. In 1424 there was a masquerade of the Dance of Death in the Cemetery of the Innocents at Paris, attended by the Duke of Bedford and the Duke of Burgundy, just returned from battle. It may have been the last outcome in the west of Kali's dance over the slain; but it is fortunate when Fanaticism has no worse outcome than Folly. The Skeleton Death has the advantage over earlier forms of suggesting the naturalness of death. It is more scientific. The gradual discovery by the people that death is not caused by sin has largely dissipated its horrors in regions where the ignorance and impostures of priestcraft are of daily observation; and although the reaction may not be expressed with good taste, there would seem to be in it a certain vigour of nature, reasserting itself in simplicity.

In the northern world we are all too sombre in the matter. It is the ages of superstition which have moulded our brains, and too generally given to our natural love of life the unnatural counterpart of a terror of death. What has been artificially bred into us can be cultivated out of us. There are indeed deaths corresponding to the two Angels--the death that comes by lingering disease and pain, and that which comes by old age. There are indeed Azraëls in our cities who poison the food and drink of the people, and mingle death in the cup of water; and of them there should be increasing horror until the gentler angel abides with us, and death by old age becomes normal. The departure from life being a natural condition of entering upon it, it is melancholy indeed that it should be ideally confused with the pains and sorrows often attending it. It is fabled that Menippus the Cynic, travelling through Hades, knew which were the kings there by their howling louder than the rest. They howled loudest because they had parted from most pleasures on earth. But all the happy and young have more reason to lament untimely death than kings. The only tragedy of Death is the ruin of living Love. Mr. Watts, in his great picture of Love and Death (Grosvenor Gallery, 1877), revealed the real horror. Not that skeleton which has its right time and place, not the winged demon (called angel), who has no right time or place, is here, but a huge, hard, heartless form, as of man half-blocked out of marble; a terrible emblem of the remorseless force that embodies the incompleteness and ignorance of mankind--a force that steadily crushes hearts where intellects are devoting their energies to alien worlds. Poor Love has little enough science; his puny arm stretched out to resist the colossal form is weak as the prayers of agonised parents and lovers directed against never-swerving laws; he is almost exhausted; his lustrous wings are broken and torn in the struggle; the dove at his feet crouches mateless; the rose that climbed on his door is prostrate; over his shoulder the beam-like arm has set the stony hand against the door where the rose of joy must fall.

The aged when they die do but follow the treasures that have gone before. One by one the old friends have left them, the sweet ties parted, and the powers to enjoy and help become feeble. When of the garden that once bloomed around them memory alone is left, friendly is death to scatter also the leaves of that last rose where the loved ones are sleeping. This is the real office of death. Nay, even when it comes to the young and happy it is not Death but Disease that is the real enemy; in disease there is almost no compensation at all but learning its art of war; but Death is Nature's pity for helpless pain; where love and knowledge can do no more it comes as a release from sufferings which were sheer torture if prolonged. The presence of death is recognised oftenest by the cessation of pain. Superstition has done few heavier wrongs to humanity than by the mysterious terrors with which it has invested that change which, to the simpler ages, was pictured as the gentle river Lethe, flowing from the abode of sleep, from which the shades drank oblivion alike of their woes and of the joys from which they were torn.

I. DECLINE OF DEMONS

The Holy Tree of Travancore--The growth of Demons in India and their decline--The Nepaul Iconoclast--Moral Man and unmoral Nature--Man's physical and mental migrations--Heine's 'Gods in Exile'--The Goban Saor--Master Smith--A Greek caricature of the Gods--The Carpenter v. Deity and Devil--Extermination of the Werewolf--Refuges of Demons--The Giants reduced to Little People--Deities and Demons returning to nature.

Having indicated, necessarily in mere outline and by selected examples, the chief obstacles encountered by primitive man, and his apprehensions, which he personified as demons, it becomes my next task to show how and why many of these demons declined from their terrible proportions and made way for more general forms, expressing comparatively abstract conceptions of physical evil. This will involve some review of the processes through which man's necessary adaptation to his earthly environment brought him to the era of Combat with multiform obstruction.

There was, until within a few recent years, in a mountain of Travancore, India, an ancient, gigantic Tree, regarded by the natives as the residence of a powerful and dangerous deity who reigned over the mountains and the wild beasts. [210] Sacrifices were offered to this tree, sermons preached before it, and it seems to have been the ancient cathedral of the district. Its trunk was so large that four men with outstretched arms could not compass it.

This tree in its early growth may symbolise the upspringing of natural religion. Its first green leaves may be regarded as corresponding to the first crude imaginations of man as written, for instance, on leaves of the Vedas. Perceiving in nature, as we have seen, a power of contrivance like his own, a might far superior to his own, man naturally considered that all things had been created and were controlled by invisible giants; and bowing helplessly beneath them sang thus his hymns and supplications.

'This earth belongs to Varuna, the king, and the wide sky, with its ends far apart: the two seas (sky and ocean) are Varuna's loins; he is also contained in this drop of water. He who would flee far beyond the sky even he would not be rid of Varuna. His spies proceed from heaven towards this earth.'

'Through want of strength, thou ever strong and bright god, have I gone wrong: have mercy, have mercy!'

'However we break thy laws from day to day, men as we are, O god Varuna, do not deliver us to death!'

'Was it an old sin, Varuna, that thou wished to destroy the friend who always praises thee!'

'O Indra, have mercy, give me my daily bread! Raise up wealth to the worshipper, thou mighty Dawn!'

'Thou art the giver of horses, Indra, thou art the giver of cows, the giver of corn, the strong lord of wealth: the old guide of man disappointing no desires: to him we address this song. All this wealth around here is known to be thine alone: take from it conqueror, bring it hither!'

In these characteristic sentences from various hymns we behold man making his first contract with the ruling powers of nature: so much adoration and flattery on his part for so much benefit on theirs. But even in these earliest hymns there are intimations that the gods were not fulfilling their side of the engagement. 'Why is it,' pleads the worshipper, 'that you wish to destroy one who always praises you? Was it an old sin?' The simple words unconsciously report how faithfully man was performing his part of the contract. Having omitted no accent of the prayer, praise, or ritual, he supposes the continued indifference of the gods must be due to an old sin, one he has forgotten, or perhaps one committed by some ancestor.

In this state of mind the suggestion would easily take root that words alone were too cheap to be satisfactory to the gods. There must be offerings. Like earthly kings they must have their revenues. We thus advance to the phase of sacrifices. But still neither in answer to prayer, flattery, or sacrifice did the masses receive health or wealth. Poverty, famine, death, still continued their remorseless course with the silent machinery of sun, moon, and star.

But why, then, should man have gone on fulfilling his part of the contract--believing and worshipping deities, who when he begged for corn gave him famine, and when he asked for fish gave him a serpent? The priest intervened with ready explanation. And here we may consult the holy Tree of Travancore again? Why should that particular Tree--of a species common in the district and not usually very large--have grown so huge? 'Because it is holy,' said the priest. 'Because it was believed holy,' says the fact. For ages the blood and ashes of victims fed its roots and swelled its trunk; until, by an argument not confined to India, the dimensions of the superstition were assumed to prove its truth. When the people complained that all their offerings and worship did not bring any returns the priest replied, You stint the gods and they stint you. The people offered the fattest of their flocks and fruits: More yet! said the priest. They built fine altars and temples for the gods: More yet! said the priest. They built fine houses for the priests, and taxed themselves to support them. And when thus, fed by popular sacrifices and toils, the religion had grown to vast power, the priest was able to call to his side the theologian for further explanation. The theologian and the priest said--'Of course there must be good reasons why the gods do not answer all your prayers (if they did not answer some you would be utterly consumed); mere mortals must not dare to inquire into their mysteries; but that there are gods, and that they do attend to human affairs, is made perfectly plain by this magnificent array of temples, and by the care with which they have supplied all the wants of us, their particular friends, whose cheeks, as you see, hang down with fatness.'

If, after this explanation, any scepticism or rebellion arose among the less favoured, the priest might easily add--'Furthermore, we and our temples are now institutions; we are so strong and influential that it is evident that the gods have appointed us to be their representatives on earth, the dispensers of their favours. Also, of their disfavours. We are able to make up for the seeming indifference of the gods, rewarding you if you give us honour and wealth, but ruining you if you turn heretical.'

So grew the holy Tree. But strong as it was there was something stronger. Some few years ago a missionary from London went to Travancore, and desired to build a chapel near the same tree, no doubt to be in the way of its worshippers and to borrow some of the immemorial sanctity of the spot. This missionary fixed a hungry eye upon that holy timber, and reflected how much holier it would be if ending its career in the beams of a christian chapel. So one day--English authorities being conveniently near--he and his workmen began to cut down the sacred Tree. The natives gradually gathered around, and looked on with horror. While the cutting proceeded a tiger drew near, but shouts drove him off: the natives breathed freer; the demon had come and looked on, but could not protect the Tree from the Englishman. They still shuddered, however, at the sacrilege, and when at last the Holy Tree of Travancore fell, its crash was mingled with the cries and screams of its former worshippers. The victorious missionary may be pointing out in his chapel the cut-up planks which reveal the impotence of the deity so long feared by the natives; and perhaps he is telling them of the bigness of his Tree, and claiming its flourishing condition in Europe as proof of its supernatural character. Possibly he may omit to mention the blood and ashes which have fattened the root and enlarged the trunk of his Holy Tree!

That Tree in Travancore could never have been so destroyed if the primitive natural religion in which lay its deeper root had not previously withered. The gods, the natural forces, which through so many ages had not heeded man's daily martyrdoms, had now for a long time been shown quite as impotent to protect their own shrines, images, holy trees, and other interests. The priests as vainly invoked those gods to save their own country from subjugation by other nations with foreign gods, as the masses had invoked their personal aid. For a long time the gods in some parts of India have received only a formal service, coextensive with their association with a lingering order, or as part of princely establishments; but they topple down from time to time, as the masses realise their freedom to abandon them with impunity. They are at the mercy of any strong heretic who arises. The following narrative, quoted by Mr. Herbert Spencer, presents a striking example of what some Hindoos had been doing before the missionary cut down the Tree at Travancore:--

'A Nepaul king, Rum Bahâdur, whose beautiful queen, finding her lovely face had been disfigured by smallpox, poisoned herself, cursed his kingdom, her doctors, and the gods of Nepaul, vowing vengeance on all. Having ordered the doctors to be flogged, and the right ear and nose of each to be cut off, he then wreaked his vengeance on the gods of Nepaul, and after abusing them in the most gross way, he accused them of having obtained from him 12,000 goats, some hundred-weights of sweetmeats, 2000 gallons of milk, &c., under false pretences. He then ordered all the artillery, varying from three to twelve-pounders, to be brought in front of the palace. All the guns were then loaded to the muzzle, and down he marched to the headquarters of the Nepaul deities. All the guns were drawn up in front of the several deities, honouring the most sacred with the heaviest metal. When the order to fire was given, many of the chiefs and soldiers ran away panic-stricken, and others hesitated to obey the sacrilegious order; and not till several gunners had been cut down were the guns opened. Down came the gods and the goddesses from their hitherto sacred positions; and after six hours' heavy cannonading, not a vestige of the deities remained.'

However panic-stricken the Nepaulese may have been at this ferocious manifestation, it was but a storm bred out of a more general mental and moral condition. Rum Bahâdur only laid low in a few moments images of gods who, passing from the popular interest, had been successively laid to sleep on the innumerable shelves of Hindu mythology. The early Dualism was developed into Moral Man on one side, and Unmoral Nature on the other. Man had discovered that moral order in nature was represented solely by his own power: by his culture or neglect the plant or animal grew or withered, and where his control did not extend, there sprang the noxious weed or beast. So far as good gods had been imagined they were respected now only as incarnate in men. But the active powers of evil still remained, hurtful and hateful to man, and the pessimist view of nature became inevitable. To man engaged in his life-and-death struggle with nature many a beauty which now nourishes the theist's optimism was lost. The fragrant flower was a weed to the man hungry for bread, and he viewed many an idle treasure with the disappointment of Sâdi when, travelling in the desert, he found a bag in which he hoped to discover grain, but found only pearls. Fatal to every deity not anthropomorphic was the long pessimistic phase of human faith. Each became more purely a demon, and passed on the road to become a devil.

Many particular demons man conquered as he progressively carried order amid the ruggedness and wildness of his planet. Every new weapon or implement he invented punctured a thousand phantoms. Only in the realms he could not yet conquer remained the hostile forces to which he ascribed præternatural potency, because not able to pierce them and see through them. Nevertheless, the early demonic forms had to give way, for man had discovered that they were not his masters. He could cut down the Upas and root up the nightshade; he had bruised many a serpent's head and slain many a wolf. In detail innumerable enemies had been proved his inferiors in strength and intelligence. Important migrations took place: man passes, geographically, away from the region of some of his worst enemies, inhabits countries more fruitful, less malarious, his habitat exceeding that of his animal foe in range; and, still better, he passes by mental migration out of the stone age, out of other helpless ages, to the age of metal and the skill to fashion and use it. He has made the fire-fiend his friend. No longer henceforth a naked savage, with bit of stone or bone only to meet the crushing powers of the world and win its reluctant supplies!

There is a sense far profounder than its charming play of fancy in Heine's account of the 'Gods in Exile,' an essay which Mr. Pater well describes as 'full of that strange blending of sentiment which is characteristic of the traditions of the Middle Age concerning the Pagan religions.' [211] Heine writes: 'Let me briefly remind the reader how the gods of the older world, at the time of the definite triumph of Christianity, that is, in the third century, fell into painful embarrassments, which greatly resembled certain tragical situations of their earlier life. They now found themselves exposed to the same troublesome necessities to which they had once before been exposed during the primitive ages, in that revolutionary epoch when the Titans broke out of the custody of Orcus, and, piling Pelion on Ossa, scaled Olympus. Unfortunate gods! They had, then, to take flight ignominiously, and hide themselves among us here on earth under all sorts of disguises. Most of them betook themselves to Egypt, where for greater security they assumed the form of animals, as is generally known. Just in the same way they had to take flight again, and seek entertainment in remote hiding-places, when those iconoclastic zealots, the black brood of monks, broke down all the temples, and pursued the gods with fire and curses. Many of these unfortunate emigrants, entirely deprived of shelter and ambrosia, had now to take to vulgar handicrafts as a means of earning their bread. In these circumstances, many, whose sacred groves had been confiscated, let themselves out for hire as wood-cutters in Germany, and had to drink beer instead of nectar. Apollo seems to have been content to take service under graziers, and as he had once kept the cows of Admetus, so he lived now as a shepherd in Lower Austria. Here, however, having become suspected, on account of his beautiful singing, he was recognised by a learned monk as one of the old pagan gods, and handed over to the spiritual tribunal. On the rack he confessed that he was the god Apollo; and before his execution he begged that he might be suffered to play once more upon the lyre and to sing a song. And he played so touchingly, and sang with such magic, and was withal so beautiful in form and feature that all the women wept, and many of them were so deeply impressed that they shortly afterwards fell sick. And some time afterwards the people wished to drag him from the grave again, that a stake might be driven through his body, in the belief that he had been a vampire, and that the sick women would by this means recover. But they found the grave empty.'

Naturally: it is hard to bury Apollo. The next time he appeared was, no doubt, as musical director in the nearest cathedral. The young singers and artists discovered by such severe lessons that it was dangerous to sing Pagan ballads too realistically; that a cowl is capable of a high degree of decoration; that Pan's pipe sounds well evolved into an organ; that Cupids look just as well if called Cherubs. It is odd that it should have required Robert Browning three centuries away to detect the real form and face beneath the vestment of the Bishop who orders his tomb at Saint Praxed's Church:--

The bas-relief in bronze ye promised me, Those Pans and Nymphs ye wot of, and perchance Some tripod, thyrsus, with a vase or so, The Saviour at his sermon on the mount, Saint Praxed in a glory, and one Pan Ready to twitch the Nymph's last garment off, And Moses with the tables....

So in one direction grew the hermitage to the Vatican; so Zeus regained his throne by exchanging his thunderbolts for Peter's keys, and Mars regained his steed as St. George, and Hercules as Christ wrestles with Death once more. But while these artificial restorations were going on in one direction, in another some of the gods were passing through many countries, outwitting and demolishing their former selves as lowered to demons. There are many legends which report this strange phase of development, one of the finest being that of The Goban Saor, told by Mr. Kennedy. The King of Munster sent for this wonderful craftsman to build him a castle. The Goban could fashion a spear with three strokes of his hammer--St. Patrick, who found the Trinity in the shamrock, may have determined the number of strokes,--and when he wished to drive in nails high up, had only to throw his hammer at them. On his way to work for the King, Goban, accompanied by his son, passed the night at the house of a farmer, whose daughters--one dark and industrious, the other fair and idle--received from him (Goban) three bits of advice: 'Always have the head of an old woman by the hob; warm yourselves with your work in the morning; and some time before I come back take the skin of a newly-killed sheep to the market, and bring itself and the price of it home again.' As Goban, with his son, journeyed on, they found a poor man vainly trying to roof his house with three joists and mud; and by simply making one end of each joist rest on the middle of another, the other ends being on the wall, the structure was perfect. He relieved puzzled carpenters by putting up for them the pegless and nailless bridge described in Cæsar's Commentaries. Having done various great things, Goban returns to the homestead of the girls who had received his three bits of advice. The idle one had, of course, blundered at each point, and been ridiculed in the market for her proposition to bring back the sheep's skin and its price. The other, by kindly taking in an aged female relative, by working till she was warm, and by plucking and selling the wool of the sheep's skin and bringing home the latter, had obeyed the Goban's advice, and was selected as his daughter-in-law--the prince attending the wedding. Now, as to building the castle, Goban knew that the King had employed on previous castles four architects and then slain them, so that they should never build another palace equal to his. He therefore says he has left at home a necessary implement which his wife will only give to himself or one of royal blood. The King sends his son, who is kept as hostage till the husband's safe return.

This is the Master Smith of Norse fable, who has a chair from which none can rise, and who therein binds the devil; which again is the story of Hephaistos, and the chair in which he entrapped Hera until she revealed the secret of his birth. The 'devil' whom the Master Smith entraps is, in Norse mythology, simply Loki: and as Loki is a degraded Hephaistos, fire in its demonic forms, we have in all these legends the fire-fiend fought with fire.

This re-dualisation of the gods into demonic and saintly forms had a long preparation. The forces that brought it about may be seen already beginning in Hesiod's representations of the gods, in their presentation on the stage by Euripides, in a manner certain to demonise them to the vulgar, and to subject them to such laughter among scholars as still rings across the ages in the divine dialogues of Lucian. What the gods had become to the Lucians before they reached the Heines may be gathered from the accompanying caricature (Fig. 21). [212] Nothing can be more curious than the encounters of the gods with their dead selves, their Manes. What unconscious ingenuity in the combinations! St. Martin on his grey steed divides with the beggar the cloud-cloak of Wodan on his black horse, treading down just such paupers in his wild hunt; as saint he now shelters those whom as storm-demon he chilled; but the identity of Junker Martin is preserved in both titles and myths, and the Martinhorns (cakes), twisted after fashion of the horns of goat or buck pursued by Wodan, are deemed potent like horse-shoes to defend house or stable from the outlawed god. [213]

The more impressive and attractive myths transferred to christian saints--as the flowers sacred to Freyja became Our Lady's-glove, or slipper, or smock--there remained to the old gods, in their own name, only the repulsive and puerile, and by this means they were doomed at once to become unmitigated knaves and fools. If Titans, Jötunn or Jinni, they were giant humbugs, whom any small Hans or Jack might outwit and behead. Our Fairy lore is full of stories which show that in the North as well as in Latin countries there had already been a long preparation for the contempt poured by Christianity upon the Norse deities. Many of the stories, as they now stand in Folktales, speak of the vanquished demon or giant as the devil, but it is perfectly easy to detach the being meant from the name so indiscriminately bestowed by christian priests upon most of the outlawed deities. In Lithuania, where survived too much reverence for some of the earlier deities to admit of their being identified with the devil, we still find them triumphed over by the wit and skill of the artisan. Such is the case in a favourite popular legend of that country in which Perkunas--the ancient Thunder-god, corresponding to Perun in Russia--is involved in disgrace along with the devil by the sagacity and skill of a carpenter. The aged god, the venerable Devil, and the young Carpenter, united for a journey. Perkun kept the beasts off with thunder and lightning, the Devil hunted up food, the Carpenter cooked. At length they built a hut and lived in it, and planted the ground with vegetables. Presently a thief invaded their garden. Perkun and the Devil successively tried to catch him, but were well thrashed; whereas the Carpenter by playing the fiddle fascinated the thief, who was a witch, a hag whose hand the fiddler managed to get into a split tree (under pretence of giving her a music lesson), holding her there till she gave up her iron waggon and the whip which she had used on his comrades. After this the three, having decided to separate, disputed as to which should have the hut; and they finally agreed that it should be the possession of him who should succeed in frightening the two others. The Devil raised a storm which frightened Perkun, and Perkun with his thunder and lightning frightened the Devil; but the Carpenter held out bravely, and, in the middle of the night, came in with the witch's waggon, and, cracking her whip, the Devil and Perkun both took flight, leaving the Carpenter in possession of the hut. [214]

So far as Perkun is concerned, and may be regarded as representative of the gods, the hut may be symbol of Europe, and the Carpenter type of the power which conquered all that was left of them after their fair or noble associations had been transferred to christian forms. Somewhat later, the devil was involved in a like fate, as we shall have to consider in a future chapter.

The most horrible superstitions, if tracked in their popular development, reveal with special impressiveness the progressive emancipation of man from the phantasms of ferocity which represented his primal helplessness. The universal werewolf superstition, for instance, drew its unspeakable horrors from deep and wide-spreading roots. Originating, probably, in occasional relapses to cannibalism among tribes or villages which found themselves amid circumstances as urgent as those which sometimes lead a wrecked crew to draw lots which shall die to support the rest, it would necessarily become demonised by the necessity of surrounding cannibalism with dangers worse than starvation. But it would seem that individuals are always liable, by arrest of development which usually takes the form of disease or insanity, to be dragged back to the savage condition of their race. In the course of this dark history, we note first an increasing tendency to show the means of the transformation difficult. In the Volsunga Saga it is by simply putting on a 'wolf-shirt' (wolfskin) that a man may become a wolf. Then it is said it is done by a belt made of the skin of a man who has been hung--all executed persons being sacred to Wodan (because not dying a natural death), to whom also the wolf was sacred. Then it is added, that the belt must be marked with the signs of the zodiac, and have a buckle with seven teeth. Then it is said that 'only a seventh son' is possessed of this diabolical power; or others say one whose brows meet over his nose. The means of detecting werewolves and retransforming them to human shape multiplied as those of transformation diminished in number, and such remedies reflected the advance of human skill. The werewolf could be restored by crossing his path with a knife or polished steel; by a sword laid on the ground with point towards him; by a silver ball. Human skill was too much for him. In Posen mothers had discovered that one who had bread in his or her mouth could by even such means discover werewolves; and fathers, to this hint about keeping 'the wolf from the door,' added that no one could be attacked by any such monster if he were in a cornfield. The Slav levelled a plough at him. Thus by one prescription and another, and each representing a part of man's victory over chaos, the werewolf was driven out of all but a few 'unlucky' days in the year, and especially found his last refuge in Twelfth Night. But even on that night the werewolf might be generally escaped by the simple device of not speaking of him. If a wolf had to be spoken of he was then called Vermin, and Dr. Wuttke mentions a parish priest named Wolf in East Prussia who on Twelfth Night was addressed as Mr. Vermin! The actual wolf being already out of the forests in most places by art of the builder and the architect; the phantasmal wolf driven out of fear for most of the year by man's recognition of his own superiority to this exterminated beast; even the proverbial 'ears' of the vanishing werewolf ceased to be visible when on his particular fest-night his name was not mentioned.

The last execution of a man for being an occasional werewolf was, I believe, in 1589, near Cologne, there being some evidence of cannibalism. But nine years later, in France, where the belief in the Loup-garou had been intense, a man so accused was simply shut up in a mad-house. It is an indication of the revolution which has occurred, that when next governments paid attention to werewolves it was because certain vagabonds went about professing to be able to transform themselves into wolves, in order to extort money from the more weak-minded and ignorant peasants. [215] There could hardly be conceived a more significant history: the werewolf leaves where he entered. Of ignorance and weakness trying, too often in vain, 'to keep the wolf from the door,' was born this voracious phantom; with the beggar and vagabond, survivals of helplessness become inveterate, he wanders thin and crafty. He keeps out of the way of all culture, whether of field or mind. So is it indeed with all demons in decline--of which I can here only adduce a few characteristic examples. So runs the rune--

When the barley there is, Then the devils whistle; When the barley is threshed, Then the devils whine; When the barley is ground, Then the devils roar; When the flour is produced, Then the devils perish.

The old Scottish custom, mentioned by Sir Walter Scott, of leaving around each cultivated field an untilled fringe, called the Gude Man's Croft, is derived from the ancient belief that unless some wild place is left to the sylvan spirits they will injure the grain and vegetables; and, no doubt, some such notion leads the farmers of Thurgau still to graft mistletoe upon their fruit-trees. Many who can smile at such customs do yet preserve in their own minds, or those of their servants or neighbours, crofts which the ploughshare of science is forbidden to touch, and where the præternatural troops still hide their shrivelled forms. But this wild girdle becomes ever narrower, and the images within it tend to blend with rustling leaf and straw, and the insects, and to be otherwise invisible, save to that second sight which is received from Glam. As in some shadow-pantomime, the deities and demons pursue each other in endless procession, dropping down as awe-inspiring Titans, vanishing as grotesque pigmies--vanishing beyond the lamp into Nothingness!

So came most of the monsters we have been describing--Animals, Volcanoes, Icebergs, Deserts, though they might be--by growing culture and mastery of nature to be called 'the little people;' and perhaps it is rather through pity than euphemism when they were so often called, as in Ireland (Duine Matha), 'the good little people.' [216] At every step in time or space back of the era of mechanic arts the little fairy gains in physical proportions. The house-spirits (Domovoi) of Russia are full-sized, shaggy human-shaped beings. In Lithuania the corresponding phantoms (Kaukas) average only a foot in height. The Krosnyata, believed in by the Slavs on the Baltic coast, are similarly small; and by way of the kobolds, elves, fays, travelling westward, we find the size of such shapes diminishing, until warnings are given that the teeth must never be picked with a straw, that slender tube being a favourite residence of the elf! In Bavaria a little red chafer with seven spots (Coccinella septempunctata) is able to hold Thor with his lightnings, and in other regions is a form of the goddess of Love! [217] Our English name for the tiny beetle 'Lady-bug' is derived from the latter notion; and Mr. Karl Blind has expressed the opinion that our children's rune--

Lady-bug, lady-bug, fly away home, Thy house is on fire, thy children will roam--

is last echo of the Eddaic prophecies of the destruction of the universe by the fire-fiend Loki! [218] Such reductions of the ancient gods, demons, and terrors to tiny dimensions would, of course, be only an indirect result of the general cause stated. They were driven from the great world, and sought the small world: they survived in the hut and were adapted to the nerves of the nursery. So alone can Tithonos live on: beyond the age for which he is born he shrinks to a grasshopper; and it is now by only careful listening that in the chirpings of the multitudinous immortals, of which Tithonos is type, may be distinguished the thunders and roarings of deities and demons that once made the earth to tremble.

II. GENERALISATION OF DEMONS

The Demons' bequest to their conquerors--Nondescripts-- Exaggerations of tradition--Saurian Theory of Dragons-- The Dragon not primitive in Mythology--Monsters of Egyptian, Iranian, Vedic, and Jewish Mythologies--Turner's Dragon-- Della Bella--The Conventional Dragon.

After all those brave victories of man over the first chaos, organic and inorganic, whose effect upon his phantasms has been indicated; after fire had slain its thousands, and iron its tens of thousands of his demons, and the rough artisan become a Nemesis with his rudder and wheel pursuing the hosts of darkness back into Night and Invisibility; still stood the grim fact of manyformed pain and evil in the world, still defying the ascending purposes of mankind. Moreover, confronting these, he is by no means so different mentally from that man he was before conquering many foes in detail, and laying their phantoms, as he was morally. More courage man had gained, and more defiance; and, intellectually, a step had been taken, if only one: he had learned that his evils are related to each other. Hunger is of many heads and forms. Its yawning throat may be seen in the brilliant sky that lasts till it is as brass, in the deluge, the earthquake, in claw and fang; and then these together do but relate the hunger-brood to Fire and Ferocity; the summer sunbeam may be venomous as a serpent, and the end of them all is Death. Some tendency to these more general conceptions of an opposing principle and power in the world seems to be represented in that phase of development at which nondescript forms arise. These were the conquered demons' bequest.

It is, of course, impossible to measure the various forces which combined to produce the complex symbolical forms of physical evil. Tradition is not always a good draughtsman, and in portraying for a distant generation in Germany a big snake killed in India might not be exact as to the number of its heads or other details. Heroes before Falstaff were liable to overstate their foes in buckram. The less measurable a thing by fact, the more immense in fancy: werewolves of especial magnitude haunted regions where there had not been actual wolves for centuries; huge serpents play a large part in the annals of Ireland, where not even the smallest have been found. But after all natural influences have been considered, one can hardly look upon the sphynx, the chimæra, or on a conventional dragon, without perceiving that he is in presence of a higher creation than a demonic bear or a giant ruffian. The fundamental difference between the two classes is that one is natural, the other præternatural. Of course a werewolf is as præternatural as a gryphon to the eye of science, but as original expressions of human imagination the former could hardly have been a more miraculous monster than the Siamese twins to intelligent people to-day. The demonic forms are generally natural, albeit caricatured or exaggerated. And this effort at a præternatural conception is, in this early form, by no means mere superstition; rather is it poetic and artistic,--a kind of crude effort at allgemeinheit, at realisation of the types of evil--the claw-principle, fang-principle in the universe, the physiognomies of venom and pain detached from forms to which they are accidental.

Some of the particular forms we have been considering are, indeed, by no means of the prosaic type. Such conceptions as Ráhu, Cerberus, and several others, are transitional between the natural and mystical conceptions; while the sphynx, however complete a combination of ideal forms, is not all demonic. In this Part III. are included those forms whose combination is not found in objective nature, but which are yet travesties of nature and genuine fauna of the human mind.

Perhaps it may be thought somewhat arbitrary that I should describe all these intermediate forms between demon and devil by the term Dragon; but I believe there is no other fabulous form which includes so many individual types of transition, or whose evolution may be so satisfactorily traced from the point where it is linked with the demon to that where it bequeathes its characters to the devil. While, however, this term is used as the best that suggests itself, it cannot be accepted as limiting our inquiry or excluding other abstract forms which ideally correspond to the dragon,--the generalised expression for an active, powerful, and intelligent enemy to mankind, a being who is antagonism organised, and able to command every weapon in nature for an antihuman purpose.

The opinion has steadily gained that the conventional dragon is the traditional form of some huge Saurian. It has been suggested that some of those extinct forms may have been contemporaneous with the earliest men, and that the traditions of conflicts with them, transmitted orally and pictorially, have resulted in preserving their forms in fable (proximately). The restorations of Saurians on their islet at the Crystal Palace show how much common sense there is in this theory. The discoveries of Professor Marsh of Yale College have proved that the general form of the dragon is startlingly prefigured in nature; and Mr. Alfred Tylor, in an able paper read before the Anthropological Society, has shown that we are very apt to be on the safe side in sticking to the theory of an 'object-origin' for most things.

Concerning this theory, it may be said that the earliest descriptions, both written and pictorial, which have been discovered of the reptilian monsters around which grew the germs of our dragon-myths, are crocodiles or serpents, and not dragons of any conventional kind,--with a few doubtful exceptions. In an Egyptian papyrus there is a hieroglyphic picture of San-nu Hut-ur, 'plunger of the sea;' it is a marine, dolphin-like monster, with four feet, and a tail ending in a serpent's head. [219] With wings, this might approach the dragon-form. Again, Amen-Ra slew Naka, and this serpent 'saved his feet.' Possibly the phrase is ironical, and means that the serpent saved nothing; but apart from that, the poem is too highly metaphorical--the victorious god himself being described in it as a 'beautiful bull'--for the phrase to be important. On Egyptian monuments are pictured serpents with human heads and members, and the serpent Nahab-ka is pictured on amulets with two perfect human legs and feet. [220] Winged serpents are found on Egyptian monuments, but almost as frequently with the incredible number of four as with the conceivable two wings of the pterodactyl. The forms of the serpents thus portrayed with anthropomorphic legs and slight wings are, in their main shapes, of ordinary species. In the Iranian tradition of the temptation of the first man and woman, Meschia and Meschiane, by the 'two-footed serpent of lies.' And it is possible that out of this myth of the 'two-footed' serpent grew the puzzling legend of Genesis that the serpent of Eden was sentenced thereafter to crawl on his belly. The snake's lack of feet, however, might with equal probability have given rise to the explanation given in mussulman and rabbinical stories of his feet being cut off by the avenging angel. But the antiquity of the Iranian myth is doubtful; while the superior antiquity of the Hindu fable of Ráhu, to which it seems related, suggests that the two legs of the Ahriman serpent, like the four arms of serpent-tailed Ráhu, is an anthropomorphic addition. In the ancient planispheres we find the 'crooked serpent' mentioned in the Book of Job, but no dragon.

The two great monsters of Vedic mythology, Vritra and Ahi, are not so distinguishable from each other in the Vedas as in more recent fables. Vritra is very frequently called Vritra Ahi--Ahi being explained in the St. Petersburg Dictionary as 'the Serpent of the Heavens, the demon Vritra.' Ahi literally means 'serpent,' answering to the Greek echi-s, echi-dna; and when anything is added it appears to be anthropomorphic--heads, arms, eyes--as in the case of the Egyptian serpent-monsters. The Vedic demon Urana is described as having three heads, six eyes, and ninety-nine arms.

There would appear to be as little reason for ascribing to the Tannin of the Old Testament the significance of dragon, though it is generally so translated. It is used under circumstances which show it to mean whale, serpent, and various other beasts. Jeremiah (xiv. 6) compares them to wild asses snuffing the wind, and Micah (i. 8) describes their 'wailing.' The fiery serpents said to have afflicted Israel in the wilderness are called seraphim, but neither in their natural or mythological forms do they anticipate our conventional dragon beyond the fiery character that is blended with the serpent character. Nor do the descriptions of Behemoth and Leviathan comport with the dragon-form.

The serpent as an animal is a consummate development. Its feet, so far from having been amputated, as the fables say, in punishment of its sin, have been withdrawn beneath the skin as crutches used in a feebler period. It is found as a tertiary fossil. Since, therefore, the dragon form ex hypothesi is a reminiscence of the huge, now fossil, Saurians which preceded the serpent in time, the early mythologies could hardly have so regularly described great serpents instead of dragons. If the realistic theory we are discussing were true, the earliest combats--those of Indra, for instance--ought to have been with dragons, and the serpent enemies would have multiplied as time went on; but the reverse is the case--the (alleged) extinct forms being comparatively modern in heroic legend.

Mr. John Ruskin once remarked upon Turner's picture of the Dragon guarding the Hesperides, that this conception so early as 1806, when no Saurian skeleton was within the artist's reach, presented a singular instance of the scientific imagination. As a coincidence with such extinct forms Turner's dragon is surpassed by the monster on which a witch rides in one of the engravings of Della Bella, published in 1637. In that year, on the occasion of the marriage of the grand duke Ferdinand II. in Florence, there was a masque d'Inferno, whose representations were engraved by Della Bella, of which this is one, so that it may be rather to some scenic artist than to the distinguished imitator of Callot that we owe this grotesque form, which the late Mr. Wright said 'might have been borrowed from some distant geological period.' If so, the fact would present a curious coincidence with the true history of Turner's Dragon; for after Mr. Ruskin had published his remark about the scientific imagination represented in it, an old friend of the artist declared that Turner himself had told him that he copied that dragon from a Christmas spectacle in Drury Lane theatre. But Turner had shown the truest scientific instinct in repairing to the fossil-beds of human imagination, and drawing thence the conventional form which never had existence save as the structure of cumulative tradition.

III. THE SERPENT

The beauty of the Serpent--Emerson on ideal forms--Michelet's thoughts on the viper's head--Unique characters of the Serpent--The monkey's horror of Snakes--The Serpent protected by superstition--Human defencelessness against its subtle powers--Dubufe's picture of the Fall of Man.

In the accompanying picture, a medal of the ancient city of Tyre, two of the most beautiful forms of nature are brought together,--the Serpent and the Egg. Mr. D. R. Hay has shown the endless extent to which the oval arches have been reproduced in the ceramic arts of antiquity; and the same sense of symmetry which made the Greek vase a combination of Eggs prevails in the charm which the same graceful outline possesses wherever suggested,--as in curves of the swan, crescent of the moon, the elongated shell,--on which Aphrodite may well be poised, since the same contours find their consummate expression in the flowing lines attaining their repose in the perfect form of woman. The Serpent--model of the 'line of grace and beauty'--has had an even larger fascination for the eye of the artist and the poet. It is the one active form in nature which cannot be ungraceful, and to estimate the extent of its use in decoration is impossible, because all undulating and coiling lines are necessarily serpent forms. But in addition to the perfections of this form--which fulfil all the ascent of forms in Swedenborg's mystical morphology, circular, spiral, perpetual-circular, vortical, celestial--the Serpent bears on it, as it were, gems of the underworld that seem to find their counterpart in galaxies.

One must conclude that Serpent-worship is mainly founded in fear. The sacrifices offered to that animal are alone sufficient to prove this. But as it is certain that the Serpent appears in symbolism and poetry in many ways which have little or no relation to its terrors, we may well doubt whether it may not have had a career in the human imagination previous to either of the results of its reign of terror,--worship and execration. It is the theory of Pestalozzi that every child is born an artist, and through its pictorial sense must be led on its first steps of education. The infant world displayed also in its selection of sacred trees and animals a profound appreciation of beauty. The myths in which the Serpent is represented as kakodemon refer rather to its natural history than to its appearance; and even when its natural history came to be observed, there was--there now is--such a wide discrepancy between its physiology and its functions, also between its intrinsic characters and their relation to man, that we can only accept its various aspects in mythology without attempting to trace their relative precedence in time.

The past may in this case be best interpreted by the present. How different now to wise and observant men are the suggestions of this exceptional form in nature!

Let us read a passage concerning it from Ralph Waldo Emerson:--

'In the old aphorism, nature is always self-similar. In the plant, the eye or germinative point opens to a leaf, then to another leaf, with a power of transforming the leaf into radicle, stamen, pistil, petal, bract, sepal, or seed. The whole art of the plant is still to repeat leaf on leaf without end, the more or less of heat, light, moisture, and food, determining the form it shall assume. In the animal, nature makes a vertebra, or a spine of vertebræ, and helps herself still by a new spine, with a limited power of modifying its form,--spine on spine, to the end of the world. A poetic anatomist, in our own day, teaches that a snake being a horizontal line, and man being an erect line, constitute a right angle; and between the lines of this mystical quadrant, all animated beings find their place: and he assumes the hair-worm, the span-worm, or the snake, as the type or prediction of the spine. Manifestly, at the end of the spine, nature puts out smaller spines, as arms; at the end of the arms, new spines, as hands; at the other end she repeats the process, as legs and feet. At the top of the column she puts out another spine, which doubles or loops itself over, as a span-worm, into a ball, and forms the skull, with extremities again: the hands being now the upper jaw, the feet the lower jaw, the fingers and toes being represented this time by upper and lower teeth. This new spine is destined to high uses. It is a new man on the shoulders of the last.' [221]

As one reads this it might be asked, How could its idealism be more profoundly pictured for the eye than in the Serpent coiled round the egg,--the seed out of which all these spines must branch out for their protean variations? What refrains of ancient themes subtly sound between the lines,--from the Serpent doomed to crawl on its belly in the dust, to the Serpent that is lifted up!

Now let us turn to the page of Jules Michelet, and read what the Serpent signified to one mood of his sympathetic nature.

'It was one of my saddest hours when, seeking in nature a refuge from thoughts of the age, I for the first time encountered the head of the viper. This occurred in a valuable museum of anatomical imitations.

The head marvellously imitated and enormously enlarged, so as to remind one of the tiger's and the jaguar's, exposed in its horrible form a something still more horrible. You seized at once the delicate, infinite, fearfully prescient precautions by which the deadly machine is so potently armed. Not only is it provided with numerous keen-edged teeth, not only are these teeth supplied with an ingenious reservoir of poison which slays immediately, but their extreme fineness which renders them liable to fracture is compensated by an advantage that perhaps no other animal possesses, namely, a magazine of supernumerary teeth, to supply at need the place of any accidentally broken. Oh, what provisions for killing! What precautions that the victim shall not escape! What love for this horrible creature! I stood by it scandalised, if I may so speak, and with a sick soul. Nature, the great mother, by whose side I had taken refuge, shocked me with a maternity so cruelly impartial. Gloomily I walked away, bearing on my heart a darker shadow than rested on the day itself, one of the sternest in winter. I had come forth like a child; I returned home like an orphan, feeling the notion of a Providence dying away within me.' [222]

Many have so gone forth and so returned; some to say, 'There is no God;' a few to say (as is reported of a living poet), 'I believe in God, but am against him;' but some also to discern in the viper's head Nature's ironclad, armed with her best science to defend the advance of form to humanity along narrow passes.

The primitive man was the child that went forth when his world was also a child, and when the Serpent was still doing its part towards making him and it a man. It was a long way from him to the dragon-slayer; but it is much that he did not merely cower; he watched and observed, and there is not one trait belonging to his deadly crawling contemporaries that he did not note and spiritualise in such science as was possible to him.

The last-discovered of the topes in India represents Serpent-worshippers gathered around their deity, holding their tongues with finger and thumb. No living form in nature could be so fitly regarded in that attitude. Not only is the Serpent normally silent, but in its action it has 'the quiet of perfect motion.' The maximum of force is shown in it, relatively to its size, along with the minimum of friction and visible effort. Footless, wingless, as a star, its swift gliding and darting is sometimes like the lightning whose forked tongue it seemed to incarnate. The least touch of its ingenious tooth is more destructive than the lion's jaw. What mystery in its longevity, in its self-subsistence, in its self-renovation! Out of the dark it comes arrayed in jewels, a crawling magazine of death in its ire, in its unknown purposes able to renew its youth, and fable for man imperishable life! Wonderful also are its mimicries. It sometimes borrows colours of the earth on which it reposes, the trees on which it hangs, now seems covered with eyes, and the 'spectacled snake' appeared to have artificially added to its vision. Altogether it is unique among natural forms, and its vast history in religious speculation and mythology does credit to the observation of primitive man.

Recent experiments have shown the monkeys stand in the greatest terror of snakes. Such terror is more and more recognised as a survival in the European man. The Serpent is almost the only animal which can follow a monkey up a tree and there attack its young. Our arboreal anthropoid progenitors could best have been developed in some place naturally enclosed and fortified, as by precipices which quadrupeds could not scale, but which apes might reach by swinging and leaping from trees. But there could be no seclusion where the Serpent could not follow. I am informed by the King of Bonny that in his region of Africa the only serpent whose worship is fully maintained is the Nomboh (Leaper), a small snake, white and glistening, whose bite is fatal, and which, climbing into trees, springs thence upon its prey beneath, and can travel far by leaping from branch to branch. The first arboreal man who added a little to the natural defences of any situation might stand in tradition as a god planting a garden; but even he would not be supposed able to devise any absolute means of defence against the subtlest of all the beasts. Among the three things Solomon found too wonderful for him was 'the way of a serpent upon a rock' (Prov. xxx. 19). This comparative superiority of the Serpent to any and all devices and contrivances known to primitive men--whose proverbs must have made most of Solomon's wisdom--would necessarily have its effect upon the animal and mental nerves of our race in early times, and the Serpent would find in his sanctity a condition favourable to survival and multiplication. It is this fatal power of superstition to change fancies into realities which we find still protecting the Serpent in various countries. From being venerated as the arbiter of life and death, it might thus actually become such in large districts of country. In Dubufe's picture of the Fall of Man, the wrath of Jehovah is represented by the lightning, which has shattered the tree beneath which the offending pair are now crouching; beyond it Satan is seen in human shape raising his arm in proud defiance against the blackened sky. So would the Serpent appear. His victims were counted by many thousands where the lightning laid low one. Transmitted along the shuddering nerves of many generations came the confession of the Son of Sirach, 'There is no head above the head of a serpent.'

IV. THE WORM

An African Serpent-drama in America--The Veiled Serpent--The Ark of the Covenant--Aaron's Rod--The Worm--An Episode on the Dii Involuti--The Serapes--The Bambino at Rome--Serpent-transformations.

On the eve of January 1, 1863,--that historic New Year's Day on which President Lincoln proclaimed freedom to American slaves,--I was present at a Watchnight held by negroes in a city of that country. In opening the meeting the preacher said,--though in words whose eloquent shortcomings I cannot reproduce:--'Brethren and sisters, the President of the United States has promised that, if the Confederates do not lay down their arms, he will free all their slaves to-morrow. They have not laid down their arms. To-morrow will be the day of liberty to the oppressed. But we all know that evil powers are around the President. While we sit here they are trying to make him break his word. But we have come together to watch, and see that he does not break his word. Brethren, the bad influences around the President to-night are stronger than any Copperheads. [223] The Old Serpent is abroad to-night, with all his emissaries, in great power. His wrath is great, because he knows his hour is near. He will be in this church this evening. As midnight comes on we shall hear his rage. But, brethren and sisters, don't be alarmed. Our prayers will prevail. His head will be bruised. His back will be broken. He will go raging to hell, and God Almighty's New Year will make the United States a true land of freedom.'

The sensation caused among the hundreds of negroes present by these words was profound; they were frequently interrupted by cries of 'Glory!' and there were tears of joy. But the scene and excitement which followed were indescribable. A few moments before midnight the congregation were requested to kneel, which they did, and prayer succeeded prayer with increasing fervour. Presently a loud, prolonged hiss was heard. There were cries--'He's here! he's here!' Then came a volley of hisses; they seemed to proceed from every part of the room, hisses so entirely like those of huge serpents that the strongest nerves were shaken; above them rose the preacher's prayer that had become a wild incantation, and ecstatic ejaculations became so universal that it was a marvel what voices were left to make the hisses. Finally, from a neighbouring steeple the twelve strokes of midnight sounded on the frosty air, and immediately the hisses diminished, and presently died away altogether, and the New Year that brought freedom to four millions of slaves was ushered in by the jubilant chorus of all present singing a hymn of victory.

Far had come those hisses and that song of victory, terminating the dragon-drama of America. In them was the burden of Ezekiel: 'Son of man, set thy face against Pharaoh, king of Egypt, and prophesy against him and against all Egypt, saying, Thus saith the Lord Jehovah: Behold I am against thee, Pharaoh king of Egypt, the great dragon that lieth in the midst of the rivers ... I will put a hook in thy jaws.' In them was the burden of Isaiah: 'In that day Jehovah with his sore and great and strong sword shall punish Leviathan the piercing serpent, even Leviathan that crooked serpent: he shall slay the dragon that is in the sea.' In it was the cry of Zophar: 'His meat in his bowels is turned, it is the gall of asps within him. He hath swallowed down riches, and he shall vomit them up again: God shall cast them out of his belly.' And these Hebrew utterances, again, were but the distant echoes of far earlier voices of those African slaves still seen pictured with their chains on the ruined walls of Egypt,--voices that gathered courage at last to announce the never-ending struggle of man with Oppression, as that combat between god and serpent which never had a nobler event than when the dying hiss of Slavery was heard in America, and the victorious Sun rose upon a New World of free and equal men.

The Serpent thus exalted in America to a type of oppression is very different from any snake that may this day be found worshipped as a deity by the African in his native land. The swarthy snake-worshipper in his migration took his god along with him in his chest or basket--at once ark and altar--and in that hiding-place it underwent transformations. He emerged as the protean emblem of both good and evil. In a mythologic sense the serpent certainly held its tail in its mouth. No civilisation has reached the end of its typical supremacy.

Concerning the accompanying Eleusinian form (Fig. 24), Calmet says:--'The mysterious trunk, coffer, or basket, may be justly reckoned among the most remarkable and sacred instruments of worship, which formed part of the processional ceremonies in the heathen world. This was held so sacred that it was not publicly exposed to view, or publicly opened, but was reserved for the inspection of the initiated, the fully initiated only. Completely to explain this symbol would require a dissertation; and, indeed, it has been considered, more or less, by those who have written on the nature of the Ark of the testimony among the Hebrews. Declining the inquiry at present, we merely call the attention of the reader to what this mystical coffer was supposed to contain--a serpent!' The French Benedictine who wrote this passage, though his usual candour shames the casuistry of our own time, found it necessary to conceal the Hebrew Ark: it was precisely so that the occupant of the Ark was originally concealed; and though St. John exorcised it from the Chalice its genius lingers in the Pyx, before whose Host 'lifted up' the eyes of worshippers are lowered.

The writer of the Epistle to the Hebrews (chap. ix.), describing the Tabernacle, says: 'After the second veil, the tabernacle which is called the Holiest of all; which had the golden censer, and the ark of the covenant overlaid round about with gold, wherein was the golden pot that had manna, and Aaron's rod that budded, and the tables of the covenant.' But this rod of Aaron, which, by budding, had swallowed up all rival pretensions to the tribal priesthood, was the same rod which had been changed to a serpent, and swallowed up the rod-serpents of the sorcerers in Pharaoh's presence. So soft and subtle is 'the way of a serpent upon a rock!'

This veiling of the Serpent, significant of a great deal, is characteristic even of the words used to name it. Of these I have selected one to head this chapter, because it is one of the innumerable veils which shielded this reptile's transformation from a particular external danger to a demonic type. This general description of things that wind about or turn (vermes, traced by some to the Sanskrit root hvar, 'curved'), gradually came into use to express the demon serpents. Dante and Milton call Satan a worm. No doubt among the two hundred names for the Serpent, said to be mentioned in an Arabic work, we should find parallels to this old adaptation of the word 'worm.' In countries--as Germany and England--where no large serpents are found, the popular imagination could not be impressed by merely saying that Siegfried or Lambton had slain a snake. The tortuous character of the snake was preserved, but, by that unconscious dexterity which so often appears in the making of myths, it was expanded so as to include a power of supernatural transformation. The Lambton worm comes out of the well very small, but it afterwards coils in nine huge folds around its hill. The hag-ridden daughter of the King of Northumberland, who

crept into a hole a worm And out stept a fair ladye,

did but follow the legendary rule of the demonic serpent tribe.

Why was the Serpent slipped into the Ark or coffer and hid behind veils? To answer this will require here an episode.

In the Etruscan theology and ceremonial the supreme power was lodged with certain deities that were never seen. They were called the Dii Involuti, the veiled gods. Not even the priests ever looked upon them. When any dire calamity occurred, it was said these mysterious deities had spoken their word in the council of the gods,--a word always final and fatal.

There have been fine theories on the subject, and the Etruscans have been complimented for having high transcendental views of the invisible nature of the Divine Being. But a more prosaic theory is probably true. These gods were wrapped up because they were not fit to be seen. The rude carvings of some savage tribe, they had been seen and adored at first: temples had been built for them, and their priesthood had grown powerful; but as art advanced and beautiful statues arose, these rude designs could not bear the contrast, and the only way of preserving reverence for them, and the institutions grown up around them, was to hide them out of sight altogether. Then it could be said they were so divinely beautiful that the senses would be overpowered by them.

There have been many veiled deities, and though their veils have been rationalised, they are easily pierced. The inscription on the temple of Isis at Sais was: 'I am that which has been, which is, and which shall be, and no one has yet lifted the veil that hides me.' Isis at this time had probably become a negro Madonna, like that still worshipped in Spain as holiest of images, and called by the same title, 'Our Immaculate Lady.' As the fair race and the dark mingled in Egypt, the primitive Nubian complexion and features of Isis could not inspire such reverence as more anciently, and before her also a curtain was hung. The Ark of Moses carried this veil into the wilderness, and concealed objects not attractive to look at--probably two scrawled stones, some bones said to be those of Joseph, a pot of so-called manna, and the staff said to have once been a serpent and afterwards blossomed. Fashioned by a rude tribe, the Ark was a fit thing to hide, and hidden it has been to this day. When the veil of the Temple was rent,--allegorically at the death of Christ, actually by Titus,--nothing of the kind was found; and it would seem that the Jews must long have been worshipping before a veil with emptiness behind it. Paul discovered that the veil said to have covered the face of Moses when he descended from Sinai was a myth; it meant that the people should not see to the end of what was nevertheless transient. 'Their minds were blinded; for unto this day, when Moses is read, that veil is on their heart.'

Kircher says the Seraphs of Egypt were images without any eminency of limbs, rolled as it were in swaddling clothes, partly made of stone, partly of metal, wood, or shell. Similar images, he says, were called by the Romans 'secret gods.' As an age of scepticism advanced, it was sometimes necessary that these 'involuti' should be slightly revealed, lest it should be said there was no god there at all. Such is the case with the famous bambino of Aracoeli Church in Rome. This effigy, said to have been carved by a pilgrim out of a tree on the Mount of Olives, and painted by St. Luke while the pilgrim was sleeping, is now kept in its ark, and visitors are allowed to see part of its painted face. When the writer of this requested a sight of the whole form, or of the head at any rate, the exhibiting priest was astounded at the suggestion. No doubt he was right: the only wonder is that the face is not hid also, for a more ingeniously ugly thing than the flat, blackened, and rouged visage of the bambino it were difficult to conceive. But it wears a very cunning veil nevertheless. The face is set in marvellous brilliants, but these are of less effect in hiding its ugliness than the vesture of mythology around it. The adjacent walls are covered with pictures of the miracles it has performed, and which have attracted to it such faith that it is said at one time to have received more medical fees than all the physicians in Rome together. Priests have discovered that a veil over the mind is thicker than a veil on the god. Such is the popular veneration for the bambino, that, in 1849, the Republicans thought it politic to present the monks with the Pope's state coach to carry the idol about. In the end it was proved that the Pope was securely seated beside the bambino, and he presently emerged from behind his veil also.

There came, then, a period when the Serpent crept behind the veil, or lid of the ark, or into a chalice,--a very small worm, but yet able to gnaw the staff of Solomon. No wisdom could be permitted to rise above fear itself, though its special sources might be here and there reduced or vanquished. The snake had taught man at last its arts of war. Man had summoned to his aid the pig, and the ibis made havoc among the reptiles; and some of that terror which is the parent of that kind of devotion passed away. When it next emerged, it was in twofold guise,--as Agathodemon and Kakodemon,--but in both forms as the familiar of some higher being. It was as the genius of Minerva, of Esculapius, of St. Euphemia. We have already seen him (Fig. 13) as the genius of the Eleans, the Sosopolis, where also we see the Serpent hurrying into his cavern, leaving the mother and child to be worshipped in the temple of Lucina. In Christian symbolism the Seraphim--'burning (sáraf) serpents'--veiled their faces and forms beneath their huge wings, crossed in front, and so have been able to become 'the eminent,' and to join in the praises of modern communities at being delivered from just such imaginary fiery worms as themselves!

V. APOPHIS

The Naturalistic Theory of Apophis--The Serpent of Time-- Epic of the Worm--The Asp of Melite--Vanquishers of Time-- Nachash-Beriach--The Serpent-Spy--Treading on Serpents.

The considerations advanced in the previous chapter enable us to dismiss with facility many of the rationalistic interpretations which have been advanced to explain the monstrous serpents of sacred books by reference to imaginary species supposed to be now extinct. Flying serpents, snakes many-headed, rain-bringing, woman-hating, &c., may be suffered to survive as the fauna of bibliolatrous imaginations. Such forms, however, are of such mythologic importance that it is necessary to watch carefully against this method of realistic interpretation, especially as there are many actual characteristics of serpents sufficiently mysterious to conspire with it. A recent instance of this literalism may here be noticed.

Mr. W. R. Cooper [224] supposes the evil serpent of Egyptian Mythology to have a real basis in 'a large and unidentified species of coluber, of great strength and hideous longitude,' which 'was, even from the earliest ages, associated as the representative of spiritual, and occasionally physical evil, and was named Hof, Rehof, or Apophis,' the 'destroyer, the enemy of the gods, and the devourer of the souls of men.' That such a creature, he adds, 'once inhabited the Libyan desert, we have the testimony of both Hanno the Carthaginian and Lucan the Roman, and if it is now no longer an inhabitant of that region, it is probably owing to the advance of civilisation having driven it farther south.'

Apart from the extreme improbability that African exploration should have brought no rumours of such a monster if it existed, it may be said concerning Mr. Cooper's theory: (1.) If, indeed, the references cited were to a reptile now unknown, we might be led by mythologic analogy to expect that it would have been revered beyond either the Asp or the Cobra. In proportion to the fear has generally been the exaltation of its objects. Primitive peoples have generally gathered courage to pour invective upon evil monsters when--either from their non-existence or rarity--there was least danger of its being practically resented as a personal affront. (2.) The regular folds of Apophis on the sarcophagus of Seti I. and elsewhere are so evidently mystical and conventional that, apparently, they refer to a serpent-form only as the guilloche on a wall may refer to sea-waves. Apophis (or Apap) would have been a decorative artist to fold himself in such order.

These impossible labyrinthine coils suggest Time, as the serpent with its tail in its mouth signifies Eternity,--an evolution of the same idea. This was the interpretation given by a careful scholar, the late William Hickson, [225] to the procession of nine persons depicted on the sarcophagus mentioned as bearing a serpent, each holding a fold, all being regular enough for a frieze. 'The scene,' says this author, 'appears to relate to the Last Judgment, for Osiris is seen on his throne, passing sentence on a crowd before him; and in the same tableaux are depicted the river that divides the living from the dead, and the bridge of life. The death of the serpent may possibly be intended to symbolise the end of time.' This idea of long duration might be a general one relating to all time, or it might refer to the duration of individual life; it involved naturally the evils and agonies of life; but the fundamental conception is more simple, and also more poetic, than even these implications, and it means eternal waste and decay. One has need only to sit before a clock to see Apophis: there coil upon coil winds the ever-moving monster, whose tooth is remorseless, devouring little by little the strength and majesty of man, and reducing his grandest achievements--even his universe--to dust. Time is the undying Worm.

God having made me worm, I make you--smoke. Though safe your nameless essence from my stroke, Yet do I gnaw no less Love in the heart, stars in the livid space,-- God jealous,--making vacant thus your place,-- And steal your witnesses.

Since the star flames, man would be wrong to teach That the grave's worm cannot such glory reach; Naught real is save me. Within the blue, as 'neath the marble slab I lie, I bite at once the star within the sky, The apple on the tree.

To gnaw yon star is not more tough to me Than hanging grapes on vines of Sicily; I clip the rays that fall; Eternity yields not to splendours brave. Fly, ant, all creatures die, and nought can save The constellations all.

The starry ship, high in the ether sea, Must split and wreck in the end: this thing shall be: The broad-ringed Saturn toss To ruin: Sirius, touched by me, decay, As the small boat from Ithaca away That steers to Kalymnos. [226]

The natural history of Apophis, so far as he has any, is probably suggested in the following passage cited by Mr. Cooper from Wilkinson:--'Ælian relates many strange stories of the asp, and the respect paid to it by the Egyptians; but we may suppose that in his sixteen species of asps other snakes were included. He also speaks of a dragon which was sacred in the Egyptian Melite, and another kind of snake called Paries or Paruas, dedicated to Æsculapius. The serpent of Melite had priests and ministers, a table and bowl. It was kept in a tower, and fed by the priests with cakes made of flour and honey, which they placed there in a bowl. Having done this they retired. The next day, on returning to the apartment, the food was found to be eaten, and the same quantity was again put into the bowl, for it was not lawful for any one to see the sacred reptile.' [227]

It was in this concealment from the outward eye that the Serpent was able to assume such monstrous proportions to the eye of imagination; and, indeed, it is not beyond conjecture that this serpent of Melite, coming in conflict with Osirian worship, was degraded and demonised into that evil monster (Apophis) whom Horus slew to avenge his destruction of Osiris (for he was often identified with Typhon).

Though Horus cursed and slew this terrible demon-serpent, he reappears in all Egyptian Mythology with undiminished strength, and all evil powers were the brood of himself or Typhon, who were sometimes described as brothers and sometimes as the same beings. From the 'Ritual of the Dead' we learn that it was the high privilege and task of the heroic dead to be reconstructed and go forth to encounter and subdue the agents of Apophis, who sent out to engage them the crocodiles Seb, Hem, and Shui, and other crocodiles from north, south, east, and west; the hero having conquered these, acquires their might, and next prevails over the walking viper Ru; and so on with other demons called 'precursors of Apophis,' until their prince himself is encountered and slain, all the hero's guardian deities attending to fix a knife in each of the monster's folds. These are the Vanquishers of Time,--the immortal.

In Apophis we find the Serpent fairly developed to a principle of evil. He is an 'accuser of the sun;' the twelve gateways into Hades are surmounted by his representatives, which the Sun must pass--twelve hours of night. He is at once the 'Nachash beriach' and 'Nachash aktalon'--the 'Cross-bar serpent' and the 'Tortuous serpent'--which we meet with in Isa. xxvii. 1: 'In that day the Lord with his sore and great and strong sword shall punish leviathan the piercing serpent, even leviathan that crooked serpent.' The marginal translation in the English version is 'crossing like a bar,' instead of piercing, and the Vulgate has serpens vectis. This refers to the moral function of the serpent, as barring the way, or guarding the door. No doubt this is the 'crooked serpent' of Job xxvi. 13, for the astrological sense of it does not invalidate the terrestrial significance. Imagination could only project into the heavens what it had learned on earth. Bochart in identifying 'Nachash-beriach' as 'the flying Serpent,' is quite right: the Seraph, or winged Serpent, which barred the way to the tree of life in Eden, and in some traditions was the treacherous guard at the gate of the garden, and which bit Israel in the wilderness, was this same protean Apophis. For such tasks, and to soar into the celestial planisphere, the Serpent must needs have wings; and thus it is already far on its way to become the flying Dragon. But in one form, as the betrayer of man, it must lose its wings and crawl upon the ground for ever. The Serpent is thus not so much agathodemon and kakodemon in one form, as a principle of destructiveness which is sometimes employed by the deity to punish his enemies, as Horus employs fiery Kheti, but sometimes requires to be himself punished.

There have been doubts whether the familiar derivation of ophis, serpent, from ops, the eye, shall continue. Some connect the Greek word with echis, but Curtius maintains that the old derivation from ops is correct. [228] Even were this not the etymology, the popularity of it would equally suggest the fact that this reptile was of old supposed to kill with its glance; and it was also generally regarded as gifted with præternatural vision. By a similar process to that which developed avenging Furies out of the detective dawn--Erinyes from Saranyu, Satan from Lucifer [229]--this subtle Spy might have become also a retributive and finally a malignant power. The Furies were portrayed bearing serpents in their hands, and each of these might carry ideally the terrors of Apophis: Time also is a detective, and the guilty heard it saying, 'Your sin will find you out.'

Through many associations of this kind the Serpent became at an early period an agent of ordeal. Any one handling it with impunity was regarded as in league with it, or specially hedged about by the deity whose 'hands formed the crooked serpent.' It may have been as snake-charmers that Moses and Aaron appeared before Pharaoh and influenced his imagination; or, if the story be a myth, its existence still shows that serpent performances would then have been regarded as credentials of divine authentication. So when Paul was shipwrecked on Malta, where a viper is said to have fastened on his hand, the barbarians, having at first inferred that he was a murderer, 'whom though he hath escaped the sea, yet Vengeance suffereth not to live,' concluded he was a god when they found him unharmed. Innumerable traditions preceded the words ascribed to Christ (Luke x. 19), 'Behold, I give unto you power to tread on serpents and scorpions, and over all the power of the enemy, and nothing shall by any means hurt you.' It is instructive to compare this sentence attributed to Christ with the notion of the barbarians concerning Paul's adventure, whatever it may have been. Paul's familiarity with the Serpent seems to them proof that he is a god. Such also is the idea represented in Isa. xi. 8, 'The sucking child shall play on the hole of the asp.' But the idea of treading on serpents marks a period more nearly corresponding to that of the infant Hercules strangling the serpents. Yet though these two conceptions--serpent-treading, and serpent-slaying--approach each other, they are very different in source and significance, both morally and historically. The word used in Luke, pateiin, conveys the idea of walking over something in majesty, not in hostility; it must be interpreted by the next sentence (x. 20), 'Notwithstanding, in this rejoice not, that the spirits are subject unto you (ta pneumata hypotassetai).' The serpent-slayer or dragon-slayer is not of Semitic origin. The awful supremacy of Jehovah held all the powers of destruction chained to his hand; and to ask man if he could draw out Leviathan with a hook was only another form of reminding him of his own inferiority to the creator and lord of Leviathan. How true the Semitic ideas running through the Bible, and especially represented in the legend of Paul in Malta, are to the barbarian nature is illustrated by an incident related in Mr. Brinton's 'Myths of the New World.' The pious founder of the Moravian Brotherhood, Count Zinzendorf, was visiting a missionary station among the Shawnees in the Wyoming Valley, America. Recent quarrels with the white people had so irritated the red men that they resolved to make him their victim. After he had retired to his hut several of the braves softly peered in. Count Zinzendorf was seated before a fire, lost in perusal of the Scriptures; and while the red men gazed they saw what he did not--a huge rattlesnake trailing across his feet to gather itself in a coil before the comfortable warmth of the fire. Immediately they forsook their murderous purpose, and retired noiselessly, convinced that this was indeed a divine man.

VI. THE SERPENT IN INDIA

The Kankato na--The Vedic Serpents not worshipful--Ananta and Sesha--The Healing Serpent--The guardian of treasures--Miss Buckland's theory--Primitive rationalism--Underworld plutocracy--Rain and lightning--Vritra--History of the word 'Ahi'--The Adder--Zohák--A Teutonic Laokoon.

That Serpent-worship in India was developed by euphemism seems sufficiently shown in the famous Vedic hymn called Kankato na, recited as an antidote against all venom, of which the following is a translation:--

'1. Some creature of little venom; some creature of great venom; or some venomous aquatic reptile; creatures of two kinds, both destructive of life, or poisonous, unseen creatures, have anointed me with their poison.

'2. The antidote coming to the bitten person destroys the unseen venomous creatures; departing it destroys them; deprived of substance it destroys them by its odour; being ground it pulverises them.

'3. Blades of sara grass, of kusara, of darhba, of sairya, of munja, of virana, all the haunt of unseen venomous creatures, have together anointed me with their venom.

'4. The cows had lain down in their stalls; the wild beasts had retreated to their lairs; the senses of men were at rest; when the unseen venomous creatures anointed me with their venom.

'5. Or they may be discovered in the dark, as thieves in the dusk of evening; for although they be unseen yet all are seen by them; therefore, men be vigilant.

'6. Heaven, serpents, is your father; Earth, your mother; Soma, your brother; Aditi, your sister; unseen, all-seeing, abide in your holes; enjoy your own good pleasure.

'7. Those who move with their shoulders, those who move with their bodies, those who sting with sharp fangs, those who are virulently venomous; what do ye here, ye unseen, depart together far from us.

'8. The all-seeing Sun rises in the East, the destroyer of the unseen, driving away all the unseen venomous creatures, and all evil spirits.

'9. The Sun has risen on high, destroying all the many poisons; Aditya, the all-seeing, the destroyer of the unseen, rises for the good of living beings.

'10. I deposit the poison in the solar orb, like a leathern bottle in the house of a vendor of spirits; verily that adorable Sun never dies; nor through his favour shall we die of the venom; for, though afar off, yet drawn by his coursers he will overtake the poison: the science of antidotes converted thee, Poison, to ambrosia.

'11. That insignificant little bird has swallowed thy venom; she does not die; nor shall we die; for although afar off, yet, drawn by his coursers, the Sun will overtake the poison: the science of antidotes has converted thee, Poison, to ambrosia.

'12. May the thrice-seven sparks of Agni consume the influence of the venom; they verily do not perish; nor shall we die; for although afar off, the Sun, drawn by his coursers, will overtake the poison: the science of antidotes has converted thee, Poison, to ambrosia.

'13. I recite the names of ninety and nine rivers, the destroyers of poison: although afar off, the Sun, drawn by his coursers, will overtake the poison: the science of antidotes will convert thee, Poison, to ambrosia.

'14. May the thrice-seven peahens, the seven-sister rivers, carry off, O Body, thy poison, as maidens with pitchers carry away water.

'15. May the insignificant mungoose carry off thy venom, Poison: if not, I will crush the vile creature with a stone: so may the poison depart from my body, and go to distant regions.

'16. Hastening forth at the command of Agastya, thus spake the mungoose: The venom of the scorpion is innocuous; Scorpion, thy venom is innocuous.' [230]

Though, in the sixth verse of this hymn, the serpents are said to be born of Heaven and Earth, the context does not warrant the idea that any homage to them is intended; they are associated with the evil Rakshasas, the Sun and Agni being represented as their haters and destroyers. The seven-sister rivers (streams of the sacred Ganges) supply an antidote to their venom, and certain animals, the partridge and the mungoose, are said, though insignificant, to be their superiors. The science of antidotes alluded to is that which Indra taught to Dadhyanch, who lost his head for communicating it to the Aswins. It is notable, however, that in the Vedic period there is nothing which represents the serpent as medicinal, unless by a roundabout process we connect the expression in the Rig-Veda that the wrath of the Maruts, or storm-gods, is 'as the ire of serpents,' with the fact that their chief, Rudra, is celebrated as the bestower of 'healing herbs,' and they themselves solicited for 'medicaments.' This would be stretching the sense of the hymns too far. It is quite possible, however, that at a later day, when serpent-worship was fully developed in India, what is said in the sixth verse of the hymn may have been adduced to confirm the superstition.

It seems clear, then, that at the time the Kankato na was written, the serpent was regarded with simple abhorrence. And we may remember, also, that even now, when the Indian cobra is revered as a Brahman of the highest caste, there is a reminiscence of his previous ill repute preserved in the common Hindu belief that a certain mark on his head was left there by the heel of Vishnu, Lord of Life, who trod on it when, in one of his avatars, he first stepped upon the earth. Although in the later mythology we find Vishnu, in the intervals between his avatars or incarnations, reposing on a serpent (Sesha), this might originally have signified only his lordship over it, though Sesha is also called Ananta, the Infinite. The idea of the Infinite is a late one, however, and the symbolisation of it by Sesha is consistent with a lower significance at first. In Hindu popular fables the snake appears in its simple character. Such is the fable of which so many variants are found, the most familiar in the West being that of Bethgelert, and which is the thirteenth of the 4th Hitopadesa. The Brahman having left his child alone, while he performs a rite to his ancestors, on his return finds a pet mungoose (nakula) smeared with blood. Supposing the mungoose has devoured his child, he slays it, and then discovers that the poor animal had killed a serpent which had crept upon the infant. In the Kankato na the word interpreted by Sáyana as mungoose (Viverra Mungo, or ichneumon) is not the same (nakula), but it evidently means some animal sufficiently unimportant to cast contempt upon the Serpent.

The universality of the Serpent as emblem of the healing art--found as such among the Egyptians, Greeks, Germans, Aztecs, and natives of Brazil--suggests that its longevity and power of casting its old skin, apparently renewing its youth, may have been the basis of this reputation. No doubt, also, they would have been men of scientific tendencies and of close observation who first learned the snake's susceptibilities to music, and how its poison might be drawn, or even its fangs, and who so gained reputation as partakers of its supposed powers. Through such primitive rationalism the Serpent might gain an important alliance and climb to make the asp-crown of Isis as goddess of health (the Thermuthis), to twine round the staff of Esculapius, to be emblem of Hippocrates, and ultimately survive to be the sign of the European leech, twining at last as a red stripe round the barber's pole. The primitive zoologist and snake-charmer would not only, in all likelihood, be a man cunning in the secrets of nature, but he would study to meet as far as he could the popular demand for palliatives and antidotes against snake-bites; all who escaped death after such wounds would increase his credit as a practitioner; and even were his mitigations necessarily few, his knowledge of the Serpent's habits and of its varieties might be the source of valuable precautions.

Such probable facts as these must, of course, be referred to a period long anterior to the poetic serpent-symbolism of Egypt, and the elaborate Serpent mythology of Greece and Scandinavia. How simple ideas, having once gained popular prestige, may be caught up by theologians, poets, metaphysicians, and quacks, and modified into manifold forms, requires no proof in an age when we are witnessing the rationalistic interpretations by which the cross, the sacraments, and the other plain symbols are invested with all manner of philosophical meanings. The Serpent having been adopted as the sign-post of Egyptian and Assyrian doctors--and it may have been something of that kind that was set up by Moses in the wilderness--would naturally become the symbol of life, and after that it would do duty in any capacity whatever.

An ingenious anthropologist, Mr. C. Staniland Wake, [231] supposes the Serpent in India to have been there also the symbol of præternatural and occult knowledge. Possibly this may have been so to a limited extent, and in post-Vedic times, but to me the accent of Hindu serpent-mythology appears to be emphatically in the homage paid to it as the guardian of the treasures. I may mention here also the theory propounded by Miss A. W. Buckland in a paper submitted to the Anthropological Institute in London, March 10, 1874, on 'The Serpent in connection with Primitive Metallurgy.' In this learned monograph the writer maintains that a connection may be observed between the early serpent-worship and a knowledge of metals, and indeed that the Serpent was the sign of Turanian metallurgists in the same way as I have suggested that in Egypt and Assyria it was the sign of physicians. She believes that the Serpent must have played some part in the original discovery of the metals and precious stones by man, in recognition of which that animal was first assumed as a totem and thence became an emblem. She states that traditional and ornamentational evidences show that the Turanian races were the first workers in metals, and that they migrated westward, probably from India to Egypt and Chaldæa, and thence to Europe, and even to America, bearing their art and its sign; and that they fled before the Aryans, who had the further art of smelting, and that the Aryan myths of serpent-slaying record the overthrow of the Turanian serpent-worshippers.

I cannot think that Miss Buckland has made out a case for crediting nomadic Turanians with being the original metallurgists; though it is not impossible that it may have been a Scythian tribe in Southern India who gave its fame to 'the gold of Ophir,' which Max Müller has shown to have been probably an Indian region. [232] But that these early jewellers may have had the Serpent as their sign or emblem is highly probable, and in explanation of it there seems little reason to resort to the hypothesis of aid having been given by the Serpent to man in his discovery of metals. Surely the jewelled decoration of the serpent would in itself have been an obvious suggestion of it as the emblem of gems. Where a reptile for some reasons associated with the snake--the toad--had not the like bright spots, the cognate superstition might arise that its jewel is concealed in its head. And, finally, when these reptiles had been connected with gems, the eye of either would easily receive added rays from manifold eye-beams of superstition.

We might also credit the primitive people with sufficient logical power to understand why they should infer that an animal so wonderfully and elaborately provided with deadliness as the Serpent should have tasks of corresponding importance. The medicine which healed man (therefore possibly gods), the treasures valued most by men (therefore by anthropomorphic deities), the fruit of immortality (which the gods might wish to monopolise),--might seem the supreme things of value, which the supreme perfection of the serpent's fang might be created to guard. This might be so in the heavens as well as in the world or the underworld. The rainbow was called the 'Celestial Serpent' in Persia, and the old notion that there is a bag of gold at the end of it is known to many an English and American child.

Whatever may have been the nature of the original suggestion, there are definite reasons why, when the Serpent was caught up to be part of combinations representing a Principle of Evil, his character as guardian of treasures should become of great importance. Wealth is the characteristic of the gods of the Hades, or unseen world beneath the surface of the earth.

In the vast Sinhalese demonology we find the highest class of demons (dewatawas) described as resident in golden palaces, glittering with gems, themselves with skins of golden hue, wearing cobras as ornaments, their king, Wessamony seated on a gem-throne and wielding a golden sword. Pluto is from the word for wealth (ploutos), as also is his Latin name Dis (dives). For such are lords of all beneath the sod, or the sea's surface. Therefore, it is important to observe, they own all the seeds in the earth so long as they remain seeds. So soon as they spring to flower, grain, fruitage, they belong not to the gods of Hades but to man: an idea which originated the myth of Persephone, and seems to survive in a school of extreme vegetarians, who refuse to eat vegetables not ripened in the sun.

These considerations may enable us the better to apprehend the earlier characters of Ahi, the Throttler, and Vritra, the Coverer. As guardians of such hidden treasures as metals and drugs the Serpent might be baroneted and invoked to bestow favours; but those particular serpents which by hiding away the cloud-cows withheld the rain, or choked the rivers with drought, all to keep under-world garners fat and those of the upper world lean, were to be combated. Against them man invoked the celestial deities, reminding them that their own altars must lack offerings if they did not vanquish these thievish Binders and Concealers.

The Serpent with its jewelled raiment, its self-renovating power, and its matchless accomplishments for lurking, hiding, fatally striking, was gradually associated with undulations of rivers and sea-waves on the earth, with the Milky-way, with 'coverers' of the sky--night and cloud--above all, with the darting, crooked, fork-tongued lightning. It may have been the lightning that was the Amrita churned out of the azure sea in the myth of the 'Mahábhárata,' when the gods and demons turned the mountain with a huge serpent for cord (p. 59), meaning the descent of fire, or its discovery; but other fair and fruitful things emerged also,--the goddess of wine, the cow of plenty, the tree of heaven. The inhabitants of Burmah still have a custom of pulling at a rope to produce rain. A rain party and a drought party tug against each other, the rain party being allowed the victory, which, in the popular notion is generally followed by rain. I have often seen snakes hung up after being killed to bring rain, in the State of Virginia. For there also rain means wealth. It is there believed also that, however much it may be crushed, a snake will not die entirely until it thunders. These are distant echoes of the Vedic sentences. 'Friend Vishnu,' says Indra, 'stride vastly; sky give room for the thunderbolt to strike; let us slay Vritra and let loose the waters.' 'When, Thunderer, thou didst by thy might slay Vritra, who stopped up the streams, then thy dear steeds grew.'

Vritra, though from the same root as Varuna (the sky), means at first a coverer of the sky--cloud or darkness; hence eventually he becomes the hider, the thief, who steals and conceals the bounties of heaven--a rainless cloud, a suffocating night; and eventually Vritra coalesces with the most fearful phantasm of the Aryan mind--the serpent Ahi.

The Greek word for Adder, echis, is a modification of Ahi. Perhaps there exists no more wonderful example of the unconscious idealism of human nature than the history of the name of the great Throttler, as it has been traced by Professor Max Müller. The Serpent was also called ahi in Sanskrit, in Greece echis or echidna, in Latin anguis. The root is ah in Sanskrit, or amh, which means to press together, to choke, to throttle. It is a curious root this amh, and it still lives in several modern words, In Latin it appears as ango, anxi, anctum, to strangle; in angina, quinsy; in angor, suffocation. But angor meant not only quinsy or compression of the neck: it assumed a moral import, and signifies anguish or anxiety. The two adjectives angustus, narrow, and anxius, uneasy, both came from the same root. In Greek the root retained its natural and material meaning; in eggys, near, and echis, serpent, throttler. But in Sanskrit it was chosen with great truth as the proper name of sin. Evil no doubt presented itself under various aspects to the human mind, and its names are many; but none so expressive as those derived from our root amh, to throttle. Amhas in Sanskrit means sin, but it does so only because it meant originally throttling--the consciousness of sin being like the grasp of the assassin on the throat of the victim. All who have seen and contemplated the statue of Laokoon and his sons, with the serpent coiled around them from head to foot, may realise what those ancients felt and saw when they called sin amhas, or the throttler. This amhas is the same as the Greek agos, sin. In Gothic the same root has produced agis, in the sense of fear, and from the same source we have awe, in awful, i.e., fearful, and ug in ugly. The English anguish is from the French angoise, a corruption of the Latin angustitæ, a strait. [233] In this wonderful history of a word, whose biography, as Max Müller in his Hibbert Lectures said of Deva, might fill a volume, may also be included our ogre, and also the German unke, which means a 'frog' or 'toad,' but originally a 'snake'--especially the little house-snake which plays a large part in Teutonic folklore, and was supposed to bring good luck. [234]

This euphemistic variant is, however, the only exception I can find to the baleful branches into which the root ah has grown through the world; one of its fearful fruits being the accompanying figure, copied from one of the ornamental bosses of Wells Cathedral.

The Adder demon has been universal. Herodotus relates that from a monster, half-woman, half-serpent, sprang the Scythians, and the fable has often been remembered in the history of the Turks. The 'Zohák' of Firdusi is the Iranian form of Ahi. The name is the Arabicised form of the 'Azhi Daháka' of the Avesta, the 'baneful serpent' vanquished by Thraêtaono (Traitana of the Vedas), and this Iranian name again (Dásaka) is Ahi. The name reappears in the Median Astyages. [235] Zohák is represented as having two serpents growing out of his shoulders, which the late Professor Wilson supposed might have been suggested by a phrase in the Kankato na (ye ansyá ye angyáh) which he translates, 'Those who move with their shoulders, those who move with their bodies,' which, however, may mean 'those produced on the shoulders, biting with them,' and 'might furnish those who seek for analogies between Iranian and Indian legends with a parallel in the story of Zohák.' The legend alluded to is a favourite one in Persia, where it is used to point a moral, as in the instruction of the learned Saib to the Prince, his pupil. Saib related to the boy the story of King Zohák, to whom a magician came, and, breathing on him, caused two serpents to come forth from the region of his breast, and told him they would bring him great glory and pleasure, provided he would feed these serpents with the poorest of his subjects. This Zohák did; and he had great pleasure and wealth until his subjects revolted and shut the King up in a cavern where he became himself a prey to the two serpents. The young Prince to whom this legend was related was filled with horror, and begged Saib to tell him a pleasanter one. The teacher then related that a young Sultan placed his confidence in an artful courtier who filled his mind with false notions of greatness and happiness, and introduced into his heart Pride and Voluptuousness. To those two passions the young Sultan sacrificed the interests of his kingdom, until his subjects banished him; but his Pride and Voluptuousness remained in him, and, unable to gratify them in his exile, he died of rage and despair. The prince-pupil said, 'I like this story better than the other.' 'And yet,' said Saib, 'it is the same.'

It is curious that this old Persian fable should have survived in the witch-lore of America, and at last supplied Nathaniel Hawthorne with the theme of one of his beautiful allegorical romances,--that, namely, of the man with a snake in his bosom which ever threatened to throttle him if he did not feed it. It came to the American fabulist through many a mythical skin, so to say. One of the most beautiful it has worn is a story which is still told by mothers to their children in some districts of Germany. It relates that a little boy and girl went into the fields to gather strawberries. After they had gathered they met an aged woman, who asked for some of the fruit. The little girl emptied her basket into the old woman's lap; but the boy clutched his, and said he wanted his berries for himself. When they had passed on the old woman called them back, and presented to each a little box. The girl opened hers, and found in it two white caterpillars which speedily became butterflies, then grew to be angels with golden wings, and bore her away to Paradise. The boy opened his box, and from it issued two tiny black worms; these swiftly swelled to huge serpents, which, twining all about the boy's limbs, drew him away into the dark forest; where this Teutonic Laokoon still remains to illustrate in his helplessness the mighty power of little faults to grow into bad habits and bind the whole man.

VII. THE BASILISK

The Serpent's gem--The Basilisk's eye--Basiliscus mitratus-- House-snakes in Russia and Germany--King-snakes--Heraldic dragon--Henry III.--Melusina--The Laidley Worm--Victorious dragons--Pendragon--Merlin and Vortigern--Medicinal dragons.

A Dragoon once presented himself before Frederick the Great and offered the king a small pebble, which, he said, had been cut from the head of a king-snake, and would no doubt preserve the throne. Frederick probably trusted more to dragoons than dragons, but he kept the little curiosity, little knowing, perhaps, that it would be as prolific of legends as the cock's egg, to which it is popularly traceable, in cockatrices (whose name may have given rise to the cock-fables) or basilisks. It has now taken its place in German folklore that Frederick owed his greatness to a familiar kept near him in the form of a basilisk. But there are few parts of the world where similar legends might not spring up and coil round any famous reputation. An Indian newspaper, the Lawrence Gazette, having mentioned that the ex-king of Oudh is a collector of snakes, adds--'Perhaps he wishes to become possessed of the precious jewel which some serpents are said to contain, or of that species of snake by whose means, it is said, a person can fly in the air.' Dr. Dennys, in whose work on Chinese Folklore this is quoted, finds the same notion in China. In one story a foreigner repeatedly tries to purchase a butcher's bench, but the butcher refuses to sell it, suspecting there must be some hidden value in the article; for this reason he puts the bench by, and when the foreigner returns a year afterwards, learns from him that lodged in the bench was a snake, kept alive by the blood soaking through it, which held a precious gem in its mouth--quite worthless after the snake was dead. Cursing his stupidity at having put the bench out of use, the butcher cut it open and found the serpent dead, holding in its mouth something like the eye of a dried fish.

Here we have two items which may only be accidental, and yet, on the other hand, possibly possess significance. The superior knowledge about the serpent attributed to a 'foreigner' may indicate that such stories in China are traditionally alien, imported with the Buddhists; and the comparison of the dead gem to an eye may add a little to the probabilities that this magical jewel, whether in head of toad or serpent, is the reptile's eye as seen by the glamour of human eyes. The eye of the basilisk is at once its wealth-producing, its fascinating, and its paralysing talisman, though all these beliefs have their various sources and their several representations in mythology. That it was seen as a gem was due, as I think, to the jewelled skin of most serpents, which gradually made them symbols of riches; that it was believed able to fascinate may be attributed to the general principles of illusion already considered; but its paralysing power, its evil eye, connects it with a notion, found alike in Egypt and India, that the serpent kills with its eye. Among Sanskrit words for serpent are 'drig-visha' and 'drishti-visha'--literally 'having poison in the eye.'

While all serpents were lords and guardians of wealth, certain of them were crested, or had small horns, which conveyed the idea of a crowned and imperial snake, the basiliskos. Naturalists have recognised this origin of the name by giving the same (Basiliscus mitratus) to a genus of Iguanidæ, remarkable for a membranous crest not only on the occiput but also along the back, which this lizard can raise and depress at pleasure. But folklore, the science of the ignorant, had established the same connection by alleging that the basilisk is hatched from the egg of a black cock,--which was the peasant's explanation of the word cockatrice. De Plancy traces one part of the belief to a disease which causes the cock to produce a small egg-like substance; but the resemblance between its comb and the crests of serpent and frog [236] was the probable link between them; while the ancient eminence of the cock as the bird of dawn relegated the origin of the basilisk to a very exceptional member of the family--a black cock in its seventh year. The useful fowl would seem, however, to have suffered even so slightly mainly through a phonetic misconception. The word 'cockatrice' is 'crocodile' transformed. We have it in the Old French 'cocatrix,' which again is from the Spanish 'cocotriz,' meaning 'crocodile,'--krokodeilos; which Herodotus, by the way, uses to denote a kind of lizard, and whose sanctity has extended from the Nile to the Danube, where folklore declares that the skeleton of the lizard presents an image of the passion of Christ, and it must never be harmed. Thus 'cockatrice' has nothing to do with 'cock' or 'coq,' though possibly the coincidence of the sound has marred the ancient fame of the 'Bird of Dawn.' Indeed black cocks have been so generally slain on this account that they were for a long time rare, and so the basilisks had a chance of becoming extinct. There were fabulous creatures enough, however, to perpetuate the basilisk's imaginary powers, some of which will be hereafter considered. We may devote the remainder of this chapter to the consideration of a variant of dragon-mythology, which must be cleared out of our way in apprehending the Dragon. This is the agathodemonic or heraldic Dragon, which has inherited the euphemistic characters of the treasure-guarding and crowned serpent.

In Slavonic legend the king-serpent plays a large part, and innumerable stories relate the glories of some peasant child that, managing to secure a tiny gem from his crown, while the reptilian monarch was bathing, found the jewel daily surrounded with new treasures. This is the same serpent which, gathering up the myths of lightning and of comets, flies through many German legends as the red Drake, Kolbuk, Alp, or Alberflecke, dropping gold when it is red, corn if blue, and yielding vast services and powers to those who can magically master it. The harmless serpents of Germany were universally invested with agathodemonic functions, though they still bear the name that relates them to Ahi, viz., unken. Of these household-snakes Grimm and Simrock give much information. It is said that in fields and houses they approach solitary children and drink milk from the dish with them. On their heads they wear golden crowns, which they lay down before drinking, and sometimes forget when they retire. They watch over children in the cradle, and point out to their favourites where treasures are hidden. To kill them brings misfortune. If the parents surprise the snake with the child and kill it, the child wastes away. Once the snake crept into the mouth of a pregnant woman, and when the child was born the snake was found closely coiled around its neck, and could only be untwined by a milk-bath; but it never left the child's side, ate and slept with it, and never did it harm. If such serpents left a house or farm, prosperity went with them. In some regions it is said a male and female snake appear whenever the master or mistress of the house is about to die, and the legends of the Unken sometimes relapse into the original fear out of which they grew. Indeed, their vengeance is everywhere much dreaded, while their gratitude, especially for milk, is as imperishable as might be expected from their ancestor's quarrel with Indra about the stolen cows. In the Gesta Romanorum it is related that a milkmaid was regularly approached at milking-time by a large snake to which she gave milk. The maid having left her place, her successor found on the milking-stool a golden crown, on which was inscribed 'In Gratitude.' The crown was sent to the milkmaid who had gone, but from that time the snake was never seen again. [237]

In England serpents were mastered by the vows of a saintly Christian. The Knight Bran in the Isle of Wight is said to have picked up the cockatrice egg, to have been pursued by the serpents, which he escaped by vowing to build St. Lawrence Church in that island,--the egg having afterwards brought him endless wealth and uniform success in combat. With the manifold fables concerning the royal dragon would seem to blend traditions of the astrological, celestial, and lightning serpents. But these would coincide with a development arising from the terrestrial worms and their heroic slayers. The demonic dragon with his terrible eye might discern from afar the advent of his predestined destroyer. It might seek to devour him in infancy. As the comet might be deemed a portent of some powerful prince born on earth, so it might be a compliment to a royal family, on the birth of a prince, to report that a dragon had been seen. Nor would it be a long step from this office of the dragon as the herald of greatness to placing that monster on banners. From these banners would grow sagas of dragons encountered and slain. The devices might thus multiply. Some process of this kind would account for the entirely good reputation of the dragon in China and Japan, where it is the emblem of all national grandeur. It would also appear to underlie the proud titles of the Pythian Apollo and Bellerophon, gained from the monsters they were said to have slain. The city of Worms takes its name from the serpent instead of its slayer. [238] Pendragon, in the past--and even our dragoon of the present--are names in which the horrors of the monster become transformed in the hero's fame. The dragon, says Mr. Hardwicke, was the standard of the West Saxons, and of the English previous to the Norman Conquest. It formed one of the supporters of the royal arms borne by all the Tudor monarchs, with the exception of Queen Mary, who substituted the eagle. Several of the Plantagenet kings and princes inscribed a figure of the dragon on their banners and shields. Peter Langtoffe says, at the battle of Lewis, fought in 1264, 'The king schewed forth his schild, his dragon full austere.' Another authority says the said king (Henry III.) ordered to be made 'a dragon in the manner of a banner, of a certain red silk embroidered with gold; its tongue like a flaming fire must always seem to be moving; its eyes must be made of sapphire, or of some other stone suitable for that purpose.' [239]

It will thus be seen that an influence has been introduced into dragon-lore which has no relation whatever to the demon itself. This will explain those variants of the legend of Melusina--the famous woman-serpent--which invest her with romance. Melusina, whose indiscreet husband glanced at her in forbidden hours, when she was in her serpent shape, was long the glory of the Chateau de Lusignan, where her cries announced the approaching death of her descendants. There is a peasant family still dwelling in Fontainebleau Forest who claim to be descended from Melusina; and possibly some instance of this kind may have dropped like a seed into the memory of the author of 'Elsie Venner' to reappear in one of the finest novels of our generation. The corresponding sentiment is found surrounding the dragon in the familiar British legend of the Laidley [240] Worm. The king of Northumberland brought home a new Queen, who was also a sorceress, and being envious of the beauty of her step-daughter, changed that poor princess into the worm which devastated all Spindleton Heugh. For seven miles every green thing was blighted by its venom, and seven cows had to yield their daily supplies of milk. Meanwhile the king and his son mourned the disappearance of the princess. The young prince fitted out a ship to go and slay the dragon. The wicked Queen tries unsuccessfully to prevent the expedition. The prince leaps from his ship into the shallow sea, and wades to the rock around which the worm lay coiled. But as he drew near the monster said to him:

Oh, quit thy sword, and bend thy bow, And give me kisses three; If I'm not won ere the sun goes down, Won I shall never be.

He quitted his sword and bent his bow, He gave her kisses three; She crept into a hole a worm, But out stept a ladye.

In the end the prince managed to have the wicked Queen transformed into a toad, which in memory thereof, as every Northumbrian boy knows, spits fire to this day: but it is notable that the sorceress was not transformed into a dragon, as the story would probably have run if the dragon form had not already been detached from its original character, and by many noble associations been rendered an honourable though fearful shape for maidens like this princess and like Melusina.

In the same direction point the legends which show dragons as sometimes victorious over their heroic assailants. Geoffrey of Monmouth so relates of King Morvidus of Northumbria, who encountered a dragon that came from the Irish Sea, and was last seen disappearing in the monster's jaws 'like a small fish.' A more famous instance is that of Beowulf, whose Anglo-Saxon saga is summed up by Professor Morley as follows:--'Afterward the broad land came under the sway of Beowulf. He held it well for fifty winters, until in the dark night a dragon, which in a stone mound watched a hoard of gold and cups, won mastery. It was a hoard heaped up in sin, its lords were long since dead; the last earl before dying hid it in the earth-cave, and for three hundred winters the great scather held the cave, until some man, finding by chance a rich cup, took it to his lord. Then the den was searched while the worm slept; again and again when the dragon awoke there had been theft. He found not the man but wasted the whole land with fire; nightly the fiendish air-flyer made fire grow hateful to the sight of men. Then it was told to Beowulf.... He sought out the dragon's den and fought with him in awful strife. One wound the poison-worm struck in the flesh of Beowulf.' Whereof Beowulf died.

Equally significant is the legend that when King Arthur had embarked at Southampton on his expedition against Rome, about midnight he saw in a dream 'a bear flying in the air, at the noise of which all the shores trembled; also a terrible dragon, flying from the west, which enlightened the country with the brightness of its eyes. When these two met they had a dreadful fight, but the dragon with its fiery breath burned the bear which assaulted him, and threw him down scorched to the earth.' This vision was taken to augur Arthur's victory. The father of Arthur had already in a manner consecrated the symbol, being named Uther Pendragon (dragon's head). On the death of his brother Aurelius, it was told 'there appeared a star of wonderful magnitude and brightness,' darting forth a ray, at the end of which was a globe of fire, in form of a dragon, out of whose mouth issued two rays, one of which seemed to stretch out itself towards the Irish Sea, and ended in seven lesser rays.' Merlin interpreted this phenomenon to mean that Uther would be made king and conquer various regions; and after his first victory Uther had two golden dragons made, one of which he presented to Winchester Cathedral, retaining the other to attend him in his wars.

In the legend of Merlin and Vortigern we find the Dragon so completely developed into a merely warrior-like symbol that its moral character has to be determined by its colour. As in the two armies of serpents seen by Zoroaster, in Persian legends, which fought in the air, the victory of the white over the black foreshowing the triumph of Ormuzd over Ahriman, the tyranny of Vortigern is represented by a red dragon, while Aurelius and Uther are the two heads of a white dragon. Merlin, about to be buried alive, in pursuance of the astrologer's declaration to Vortigern that so only would his ever-falling wall stand firm, had revealed that the recurring disaster was caused by the struggle of these two dragons underground. When the monsters were unearthed they fought terribly, until the white one

Hent the red with all his might, And to the ground he him cast, And, with the fire of his blast, Altogether brent the red, That never of him was founden shred; But dust upon the ground he lay.

The white dragon vanished and was seen no more; but the tyrant Vortigern fulfilled the fate of the red dragon, being burnt in his castle near Salisbury. These two dragons met again, however, as red and white roses.

Many developments corresponding to these might be cited. One indeed bears a startling resemblance to our English legends. Of King Nuat Meiamoun, whose conquest of Egypt is placed by G. Maspero about B.C. 664-654, the Ethiopian 'Stele of the Dream' relates:--'His Majesty beheld a dream in the night, two snakes, one to his right, the other to his left, (and) when His Majesty awoke ... he said: 'Explain these things to me on the moment,' and lo! they explained it to him, saying: 'Thou wilt have the Southern lands, and seize the Northern, and the two crowns will be put on thy head, (for) there is given unto thee the earth in all its width and its breadth.' These two snakes were probably suggested by the uræi of the Egyptian diadem.

Beyond the glory reflected upon a monster from his conqueror, there would be reason why the alchemist and the wizard should encourage that aspect of the dragon. The more perilous that Gorgon whose blood Esculapius used, the more costly such medicament; while, that the remedy may be advantageous, the monster must not be wholly destructive. This is so with the now destructive now preservative forces of nature, and how they may blend in the theories, and subserve the interests, of pretenders is well shown in a German work on Alchemy (1625) quoted by Mr. Hardwicke. 'There is a dragon lives in the forest, who has no want of poison; when he sees the sun or fire he spits venom, which flies about fearfully. No living animal can be cured of it; even the basilisk does not equal him. He who can properly kill this serpent has overcome all his danger. His colours increase in death; physic is produced from his poison, which he entirely consumes, and eats his own venomous tail. This must be accomplished by him, in order to produce the noblest balm. Such great virtue as we will point out herein that all the learned shall rejoice.'

It will be readily understood that these traditions and fables would combine to 'hedge about a king' by ascribing to him familiarity with a monster so formidable to common people, and even investing him with its attributes. The dragon's name, drakôn, derived from the Sanskrit word for serpent (drig-visha), came to mean 'the thing that sees.' While this gave rise to many legends of præternatural powers of vision gained by tasting or bathing in a dragon's blood, as in the poem of Siegfried; or from waters it guarded, as 'Eye Well,' in which Guy's dragon dipped its tail to recover from wounds; the Sanskrit sense of eye-poisoning was preserved in legends of occult and dangerous powers possessed by kings,--one of the latest being the potent evil eye popularly ascribed in Italy to the late Pius IX. But these stories are endless; the legends adduced will show the sense of all those which, if unexplained, might interfere with our clear insight into the dragon itself, whose further analysis will prove it to be wholly bad,--the concentrated terrors of nature.

VIII. THE DRAGON'S EYE

The Eye of Evil--Turner's Dragons--Cloud-phantoms--Paradise and the Snake--Prometheus and Jove--Art and Nature--Dragon forms: Anglo-Saxon, Italian, Egyptian, Greek, German--The modern conventional Dragon.

The etymologies of the words Dragon and Ophis given in the preceding chapter, ideally the same, both refer to powers of the serpent which it does not possess in nature,--the præternatural vision and the glance that kills. The real nature of the snake is thus overlaid; we have now to deal with the creation of another world.

There are various conventionalised types of the Dragon, but through them all one feature is constant,--the idealised serpent. Its presence is the demonic or supernatural sign. The heroic dragon-slayer must not be supposed to have wrestled with mere flesh and blood, in whatever powerful form. The combat which immortalises him is waged with all the pains and terrors of earth and heaven concentrated and combined in one fearful form.

Impossible and phantasmal as was this form in nature, its mystical meaning in the human mind was terribly real. It was this Eye of anti-human nature which filled man with dismay, and conjured up the typical phantom. It was this Pain, purposed and purposing, the Agony of far-searching vision, subtlest skill, silently creeping, winged, adapted to meet his every device with a cleverer device, which gradually impressed mankind with belief in a general principle of antagonism to human happiness.

It is only as a combination that any dragon form is miraculous. Every constituent feature and factor of it is in nature, but here they are rolled together in one pandemonic expression and terror. Yet no such form loses its relations with nature: it is lightning and tempest, fever-bearing malaria and fire, venom and fang, slime and jungle, all the ferocities of the earth, air, and heavens, gathering to their fatal artistic force, and waylaying man at every step in his advance. In Turner's picture of Apollo slaying the Python there is a marvellous suggestion of the natural conceptions from which the dragon was evolved. The fearful folds of the monster, undulating with mound and rock on which he lies, at points almost blend with tangle of bushes and the jagged chaos amid which he stretches. The hard, wild, cruel aspects of inanimate nature seem here and there rankly swelling to horrible life, as yet but half-distinguishable from the stony-hearted matrix; the crag begins to coil and quiver, the jungle puts forth in claws; but above all appear the monstrous EYES, in which the forces of pain, hardship, obstacle have at last acquired purpose and direction. The god confronts them with eyes yet keener; his arrow, feathered with eyebeams, has reached its mark, straight between the monster's eyes; but there is no more anger in his face than might mar the calm strength of a gardener clearing away the stone and thicket that make the constituent parts of Python.

If we turn now to the neighbouring picture in the National Gallery by the same artist, the Hesperian Gardens and their Guard, we behold the Dragon on his high crag outlining and vitalising not only the edge of rock but also the sky it meets. His breath steams up into cloud. The heavens also have their terrors, which take on eyes and coils. On the line of the horizon were hung the pictures of the primitive art-gallery. Imagination painted them with brush dipped now in blackness of the storm, now in fires of the lightning or the sunset, but the forms were born of experience, of earthly struggle, defeat, and victory.

As I write these words, I lay aside my pen to look across a little lake amid the lonely hills of Wales to a sunset which is flooding the sky with glory. Through the almost greenish sky the wind is bearing fantastic clouds, that sometimes take the shape of chariots, in which cloud-veiled forms are seated, and now great birds with variegated plumage, all hastening as it were to some gathering-place of aerial gods. Beneath a long bar of maroon-tint stretches a sea of yellow light, on the hither side of which is set a garden of fleecy trees touched with golden fruit. Amid them plays a fountain of changing colours. On the left has stood, fast as a mountain range, a mass of dark-blue cloud with uneven peaks; suddenly a pink faint glow shines from behind that leaden mass, and next appears, sinuous with its long indented top, the mighty folds of a fiery serpent. Nay, its head is seen, its yawning lacertine jaws, its tinted crest. It is sleepless Ladon on his high barrier keeping watch and ward over the Hesperian garden.

Juno set him there, but he is the son of Ge,--the earth. The tints of heaven invest and transform, and in a sense create him; but he would never have been born mythologically had it not been that in this world stings hover near all sweetness, danger environs beauty, and, as Plato said, 'Good things come hard.' The grace and lustre of the serpent with his fatal fang preceded him, and all the perils that lurk beneath things fair and fascinating. So far there is nothing essentially moral or unmoral about him. This dragon is a shape designed by primitive meteorology and metaphysics together. Man has asked what is so, and this is the answer: he has not yet asked why it is so, whether it ought to be so, and whether it may not be otherwise. The challenge has not yet been given, the era of combat not yet arrived. The panoplied guard and ally of gods as unmoral as himself has yet to be transformed under the touch of the religious sentiment, and expelled from the heaven of nobler deities as a dragon cast down, deformed, and degraded for ever.

As thought goes on, such allies compromise their employers; the creator's work reflects the creator's character; and after many timorous ages we find the dragon-guarded deities going down with their cruel defenders. It is not without significance that in the Sanskrit dictionary the most ancient of all words for god, Asura, has for its primary meaning 'demon' or 'devil:' the gods and dragons united to churn the ocean for their own wealth, and in the end they were tarred with one brush. I have already described in the beginning of this work the degradation of deities, and need here barely recall to the reader's memory the forces which operated to that result. The bearing of that force upon the celestial or paradise-guarding Serpent is summed up in one quatrain of Omar Khayyám:--

O Thou who man of baser earth didst make, And e'en in Paradise devised the Snake; For all the sin wherewith the face of man Is blackened, man's forgiveness give--and take!

The heart of humanity anticipated its logic by many ages, and, long before the daring genius of the Persian poet wrote this immortal epitaph on the divine allies of the Serpent, heroes had given battle to the whole fraternity. Nay, in their place had arisen a new race of gods, whose theoretical omnipotence was gladly surrendered in the interest of their righteousness; and there was now war in heaven; the dragon and his allies were cast down, and man was now free to fight them as enemies of the gods as well as himself. Woe henceforth to any gods suspected of taking sides with the dragon in this man's life-and-death struggle with the ferocities of nature, and with his own terrors reflected from them! The legend of Prometheus was their unconsciously-given 'notice to quit,' though it waited many centuries for its great interpreter. It is Goethe who alone has seen how pale and weak grow Jove's fireworks before the thought-thunderbolts of the artist, launched far beyond the limitations that chain him in nature. Gods are even yet going down in many lands before the sublime sentence of Prometheus:--

Curtain thy heavens, thou Jove, with clouds and mist, And, like a boy that moweth thistles down, Unloose thy spleen on oaks and mountain-tops; Yet canst thou not deprive me of my earth, Nor of my hut, the which thou didst not build, Nor of my hearth, whose little cheerful flame Thou enviest me!

I know not aught within the universe More slight, more pitiful than you, ye gods! Who nurse your majesty with scant supplies Of offerings wrung from fear, and muttered prayers, And needs must starve, were't not that babes and beggars Are hope-besotted fools!

When I was yet a child, and knew not whence My being came, nor where to turn its powers, Up to the sun I bent my wildered eye, As though above, within its glorious orb, There dwelt an ear to listen to my plaint, A heart, like mine, to pity the oppressed.

Who gave me succour Against the Titans in their tyrannous might? Who rescued me from death--from slavery? Thou!--thou, my soul, burning with hallowed fire, Thou hast thyself alone achieved it all! Yet didst thou, in thy young simplicity, Glow with misguided thankfulness to him That slumbers on in idlenesse there above!

I reverence thee? Wherefore? Hast thou ever Lightened the sorrows of the heavy laden? Thou ever stretch thy hand to still the tears Of the perplexed in spirit? Was it not Almighty Time, and ever-during Fate-- My lords and thine--that shaped and fashioned me Into the MAN I am?

Belike it was thy dream That I should hate life--fly to wastes and wilds, For that the buds of visionary thought Did not all ripen into goodly flowers?

Here do I sit and mould Men after mine own image-- A race that may be like unto myself, To suffer, weep; to enjoy, and to rejoice; And, like myself, unheeding all of thee!

The myth of Prometheus reveals the very dam of all dragons,--the mere terrorism of nature which paralysed the energies of man. Man's first combat was to be with his own quailing heart. Apollo driving back the Argives to their ships with the image of the Gorgon's head on Jove's shield is Homer's picture of the fears that unnerved heroes:--

Phoebus himself the rushing battle led; A veil of clouds involved his radiant head: High held before him, Jove's enormous shield Portentous shone, and shaded all the field: Vulcan to Jove th' immortal gift consigned, To scatter hosts, and terrify mankind.... Deep horror seizes ev'ry Grecian breast, Their force is humbled, and their fear confest. So flies a herd of oxen, scattered wide, No swain to guard them, and no day to guide, When two fell lions from the mountain come, And spread the carnage thro' the shady gloom.... The Grecians gaze around with wild despair, Confused, and weary all their pow'rs with prayer. [241]

A generation whose fathers remembered the time when men educated in universities regarded Franklin with his lightning-rod as 'heaven-defying,' can readily understand the legend of Vulcan--type of the untamed force of fire--being sent to bind Prometheus, master of fire. [242] How much fear of the forces of nature, as personified by superstition, levelled against the first creative minds and hands the epithets which Franklin heard, and which still fall upon the heads of some scientific investigators! Storm, lightning, rock, ocean, vulture,--these blend together with the intelligent cruelty of Jove in the end; and behold, the Dragon! The terrors of nature, which drive cowards to their knees, raise heroes to their height. Then it is a flame of genius matched against mad thunderbolts. Whether the jealous nature-god be Jehovah forbidding sculpture, demanding an altar of unhewn stone, and refusing the fruits of Cain's garden, or Zeus jealous of the artificer's flame, they are thrown into the Opposition by the artist; and when the two next meet, he of the thunderbolt with all his mob will be the Dragon, and Prometheus will be the god, sending to its heart his arrow of light.

The dragon forms which have become familiar to us through mediæval and modern iconography are of comparatively little importance as illustrating the social or spiritual conditions out of which they grew, and of which they became emblems. They long ago ceased to be descriptive, and in the rude periods or places a very few scratches were sometimes enough to indicate the dragon; such mere suggestions in the end allowing large freedom to subsequent designers in varying original types.

As to external form, the various shapes of the more primitive dragons have been largely determined by the mythologic currents amid which they have fallen, though their original basis in nature may generally be traced. In the far North, where the legends of swan-maidens, pigeon-maidens, and vampyres were paramount in the Middle Ages, we find the bird-shaped dragon very common. Sometimes the serpent-characteristics are pronounced, as in this ancient French Swan-Dragon (Fig. 26); but, again, and especially in regions where serpents are rare and comparatively innocuous, the serpent tail is often conventionalised away, as in this initial V from the Cædmon Manuscript, tenth century (Fig. 27), a fair example of the ornamental Anglo-Saxon dragon. The cuttlefish seems to have suggested the animalised form of the Hydra, which in turn helped to shape the Dragon of the Apocalypse. Yet the Hydra in pictorial representation appears to have been influenced by Assyrian ideas; for although the monster had nine heads, it is often given seven (number of the Hathors, or Fates) by the engravers, as in Fig. 6. The conflicts of Hercules with the Hydra repeated that of Bel with Tiamat ('the Deep'), and had no doubt its counterpart in that of Michael with the Dragon,--the finest representation of which, perhaps, is the great fresco by Spinello (fourteenth century) at Arezzo, a group from which is presented in Fig. 28. In this case the wings represent those always attributed in Semitic mythology to the Destroying Angel. The Egyptian Dragon, of which the crocodile is the basis, at an early period entered into christian symbolism, and gradually effaced most of the pagan monsters. The crocodile and the alligator, besides being susceptible of many horrible variations in pictorial treatment, were particularly acceptable to the Christian propaganda, because of the sanctity attached to them by African tribes,--a sanctity which continues to this day in many parts of that country, where to kill one of these reptiles is believed to superinduce dangerous inundations. In Semitic traditions, also, Leviathan was generally identified as a demonic crocodile, and the feat of destroying him was calculated to impress the imaginations of all varieties of people in the Southern countries for which Christianity struggled so long. This form contributed some of its characters to the lacertine dragons which were so often painted in the Middle Ages, with what effect may be gathered from the accompanying design by Albert Durer (Fig. 29). In this loathsome creature, which seeks to prevent deliverance of 'the spirits in prison,' we may remark the sly and cruel eye: the præternatural vision of such monsters was still strong in the traditions of the sixteenth century. In looking at this lizard-guard at the mouth of hell we may realise that it has been by some principle of psychological selection that the reptilian kingdom gradually gained supremacy in these portrayals of the repulsive. If we compare with Fig. 29 the well-known form of the Chimæra (Fig. 30), most of us will be conscious of a sense of relief; for though the reptilian form is present in the latter, it is but an appendage--almost an ornament--to the lion. It is impossible to feel any loathing towards this spirited Trisomatos, and one may recognise in it a different animus from that which depicted the christian dragon. One was meant to attest the boldness of the hero who dared to assail it; the other was meant, in addition to that, to excite hatred and horror of the monster assailed. We may, therefore, find a very distinct line drawn between such forms as the Chimæra and such as the Hydra, or our conventional Dragon. The hairy inhabitants of Lycia, human or bestial, whom Bellerophon conquered, [243] were not meant to be such an abstract expression of the evil principle in nature as the Dragon, and while they are generalised, the elements included are also limited. But the Dragon, with its claws, wings, scales, barbed and coiling tail, its fiery breath, forked tongue, and frequent horns, includes the organic, inorganic, the terrestrial and atmospheric, and is the combination of harmful contrivances in nature.

Nearly all of the Dragon forms, whatever their original types and their region, are represented in the conventional monster of the European stage, which meets the popular conception. This Dragon is a masterpiece of the popular imagination, and it required many generations to give it artistic shape. Every Christmas he appears in some London pantomime, with aspect similar to that which he has worn for many ages. His body is partly green, with memories of the sea and of slime, and partly brown or dark, with lingering shadow of storm-clouds. The lightning flames still in his red eyes, and flashes from his fire-breathing mouth. The thunderbolt of Jove, the spear of Wodan, are in the barbed point of his tail. His huge wings--batlike, spiked--sum up all the mythical life of extinct Harpies and Vampyres. Spine of crocodile is on his neck, tail of the serpent, and all the jagged ridges of rocks and sharp thorns of jungles bristle around him, while the ice of glaciers and brassy glitter of sunstrokes are in his scales. He is ideal of all that is hard, obstructive, perilous, loathsome, horrible in nature: every detail of him has been seen through and vanquished by man, here or there, but in selection and combination they rise again as principles, and conspire to form one great generalisation of the forms of Pain--the sum of every creature's worst.

IX. THE COMBAT

The pre-Munchausenite world--The Colonial Dragon--Io's journey --Medusa--British Dragons--The Communal Dragon--Savage Saviours --A Mimac helper--The Brutal Dragon--Woman protected--The Saint of the Mikados.

The realm of the Unknown has now, by exploration of our planet and by science, been pretty well pressed into annexation with the Unknowable. In early periods, however, unexplored lands and seas existed only in the human imagination, and men appear to have included them within the laws of analogy as slowly as their descendants so included the planets. The monstrous forms with which superstition now peoples regions of space that cannot be visited could then dwell securely in parts of the world where their existence or non-existence could not be verified. Science had not yet shown the simplicity and unity underlying the superficial varieties of nature; and though Rudolf Raspe appeared many times, and related the adventures of his Baron Munchausen in many languages, it was only a hundred years ago that he managed to raise a laugh over them. It has taken nearly another hundred to reveal the humour of Munchausenisms that relate to invisible and future worlds.

The Dragon which now haunts the imagination of a few compulsory voyagers beyond the grave originated in speculations concerning the unseen shores of equally mythical realms, whose burning zones and frozen seas had not yet been detached from this planet to make the Inferno of another. In our section on Demonology we have considered many of these imaginary forms in detail, limiting ourselves generally to the more realistic embodiments of special obstacles. Just above that formation comes the stratum in which we find the separate features of the previous demonic fauna combining to forms which indicate the new creative power which, as we have seen, makes nature over again in its own image.

Beginning thus on the physical plane, with a view of passing to the social, political, and metaphysical arenas where man has successively met his Dragons, we may first consider the combination of terrors and perils, real and imaginary, which were confronted by the early colonist. I will venture to call this the Colonial Dragon.

This form may be represented by any of those forms against which the Prometheus of Æschylus cautions Io on her way to the realm which should be called Ionia. 'When thou shalt have crossed the stream that bounds the continents to the rosy realms of the morning where the sun sets forth, ... thou shalt reach beyond the roaring sea Cisthene's Gorgonian plains, where dwell the Phorkides, ... and hard by are their three winged sisters, the Snake-haired Gorgons, by mortals abhorred, on whom none of human race can look and live.... Be on thy guard against the Gryphons, sharp-fanged hounds of Jove that never bark, and against the cavalry host of one-eyed Arimaspians, dwelling on the gold-gushing fount, the stream of Pluto. Thou wilt reach a distant land, a dark tribe, near to the fount of the sun, where runs the river Æthiops.' [244]

One who has looked upon Leonardo da Vinci's Medusa at Florence--one of the finest interpretations of a mythologic subject ever painted--may comprehend what to the early explorer and colonist were the fascinations of those rumoured regions where nature was fair but girt round with terrors. The Gorgon's head alone is given, with its fearful tangle of serpent tresses; her face, even in its pain, possesses the beauty that may veil a fatal power; from her mouth is exhaled a vapour which in its outline has brought into life vampyre, newt, toad, and loathsome nondescript creatures. Here is the malaria of undrained coasts, the vermin of noxious nature. The source of these must be destroyed before man can found his city; it is the fiery poisonous breath of the Colonial Dragon.

Most of the Dragon-myths of Great Britain appear to have been importations of the Colonial monsters. Perhaps the most famous of these in all Europe was the Chimæra, which came westward upon coins, Bellerophon having become a national hero at Corinth--almost superseding the god of war himself--and his effigy spread with many migrations. Our conventional figure of St. George is still Bellerophon, though the Dragon has been substituted for Chimæra,--a change which christian tradition and national respect for the lion rendered necessary (Fig. 31). Corresponding to this change in outward representation, the monster-myths of Great Britain have been gradually pressed into service as moral and religious lessons. The Lambton Worm illustrates the duty of attending mass and sanctity of the sabbath; the demon serpents of Ireland and Cornwall prove the potency of holy exorcism; and this process of moralisation has extended, in the case of the Boar, whose head graces the Christmas table at Queen's College, Oxford, to an illustration of the value of Aristotelian philosophy. It was with a volume of Aristotle that the monster was slain, the mythologic affinities of the legend being quaintly preserved in the item that it was thrust down the boar's throat.

But these modifications are very transparent, the British legends being mainly variants of one or two original myths which appear to have grown out of the heraldic devices imported by ancient families. These probably acquired realistic statement through the prowess and energy of chieftains, and were exaggerated by their descendants, perhaps also connected with some benefit to the community, in order to strengthen the family tenure of its estates. For this kind of duty the Colonial Dragon was the one usually imported by the family romancer or poet. The multiplication of these fables is, indeed, sufficiently curious. It looks as if there were some primitive agrarian sentiment which had to be encountered by aid of appeals to exceptional warrant. The family which could trace its title to an estate to an ancestor who rescued the whole district, was careful to preserve some memorial of the feat. On account of the interests concerned in old times we should be guarded in receiving the rationalised interpretations of such myths, which have become traditional in some localities. The barbaric achievements of knights did not lose in the ballads of minstrels any marvellous splendours, but gained many; and most of these came from the south and east. The Dragon which Guy of Warwick slew still retained traces of Chimæra; it had 'paws as a lion.' Sir William Dugdale thought that this was a romanticised version of a real combat which Guy fought with a Danish chief, A.C. 926. Similarly the Dragon of Wantley has been reduced to a fraudulent barrister.

The most characteristic of this class of legends is that of Sockburn. Soon after the Norman conquest the Conyers family received that manor by episcopal grant, the tradition being that it was because Sir John Conyers, Knight, slew a huge Worm which had devoured many people. The falchion with which this feat was achieved is still preserved, and I believe it is still the custom, when a new bishop visits that diocese, for the lord of Sockburn to present this sword. The lord of the manor meets the bishop in the middle of the river Tees, and says:--'My Lord Bishop, I here present you with the falchion wherewith the Champion Conyers slew the Worm, Dragon, or fiery flying Serpent, which destroyed man, woman, and child, in memory of which the king then reigning gave him the manor of Sockburn to hold by this tenure,--that upon the first entrance of every bishop into the country this falchion should be presented.' The bishop returns the sword and wishes the lord long enjoyment of the tenure, which has been thus held since the year 1396. The family tradition is that the Dragon was a Scotch intruder named Comyn, whom Conyers compelled to kneel before the episcopal throne. The Conyers family of Sockburn seem to have been at last overtaken by a Dragon which was too much for them: the last knight was taken from a workhouse barely in time not to die there.

In the 'Memoirs of the Somervilles' we read that one of that family acquired a parish by slaying a 'hydeous monster in forme of a worme.' [245]

The wode Laird of Laristone Slew the Worme of Worme's Glen, And wan all Linton parochine.

It was 'in lenth 3 Scots yards, and somewhat bigger than an ordinary man's leg, with a hede more proportionable to its lenth than its greatness; its forme and collour (like) to our common muir adders.'

This was a very moderate dragon compared with others, by slaying which many knights won their spurs: this, for example, which Sir Dygore killed in the fourteenth century--

----A Dragon great and grymme, Full of fyre, and also of venymme: With a wide throte and tuskes grete, Uppon that knight fast gan he bete; And as a Lionn then was his fete, His tayle was long and ful unmete; Between his hede and his tayle Was xxii. fote withouten fayle; His body was like a wine tonne, He shone full bright ageynst the sunne; His eyes were bright as any glasse, His scales were hard as any brasse.

The familiar story of St. Patrick clearing the snakes out of Ireland, and the Cornish version of it, in which the exorcist is St. Petrox, presents some features which relate it to the colonist's combat with his dragon, though it is more interesting in other aspects. The Colonial Dragon includes the diseases, the wild beasts, the savages, and all manner of obstructions which environ a new country. But when these difficulties have been surmounted, the young settlement has still its foes to contend with,--war-like invaders from without, ambitious members within. We then find the Dragon taking on the form of a public enemy, and his alleged slayer is representative of the commune,--possibly in the end to transmit its more real devourer. Most of the British Dragon-myths have expanded beyond the stage in which they represent merely the struggles of immigrants with wild nature, and include the further stage where they represent the formation of the community. The growth of patriotism at length is measured by its shadow. The Colonial is transformed to the Communal Dragon. Many Dragon-myths are adaptations of the ancient symbolism to hostes communes: such are the monsters described as desolating villages and districts, until they are encountered by antagonists animated by public spirit. Such antagonists are distinguishable from the heroes that go forth to rescue the maiden in distress: their chief representative in mythology is Herakles, most of whose labours reveal the man of self-devotion redressing public wrongs, and raising the standard of humanity as well as civilisation.

The age of chivalry has its legend in the Centaurs and Cheiron. The Hippo-centaurs are mounted savages: Cheiron is the true knight, withstanding monsters in his own shape, saving Peleus from them, and giving hospitality to the Argonauts. The mounted man was dragon to the man on foot until he became the chevalier; then the demonic character passed to the strategist who had no horse. It is curious enough to find existing among the Mormons a murderous order calling themselves Danites, or Destroying Angels, after the text of Gen. xlix. 17, 'Dan shall be a serpent by the way, an adder in the path, that biteth the horse's heel that his rider shall fall backward.' The Ritter, however, so far as his Dragon was concerned, was as one winged, and every horse a Pegasus when it bore him to decide the day between the adder and its victim. It is remarkable that the Mormons should have carried from the East a cruel superstition to find even among the Red Men, who are disappearing before the western march of Saxon strength, more gentle fables.

Among the Mimacs, the aborigines of Nova Scotia, there is a legend of a young hero named Keekwajoo, who, in seeking for a wife, is befriended by a good sage named Glooscap, who warns him against a powerful magician disguised as a beaver, and two demon sisters, who will waylay him in the disguise of large weasels. The youth is admonished to beat a certain drum as his canoe passes them, and he is saved as Orpheus in passing Cerberus and Ulysses in sailing past the Syrens. The weasels, hearing the music, aspire to wed the stars, but find themselves in an indescribable nest at the top of a tall white pine. [246]

The chevalier encounters also the Brutal Dragon, whose victim is Woman. From immemorial time man's captive, unable to hold her own against brute force, she is at the mercy of all who are insensible to the refined and passive powers. The rock-bound Andromeda, the pursued Leto, or whatever fair maid it may be that the Dragon-slayer rescues, may have begun mythologically as emblem of the Dawn, whose swallower is the Night Cloud; but in the end she symbolises a brighter dawn,--that of civility and magnanimity among men.

It is a notable fact that far away in Japan we should find a Dragon-myth which would appear to represent, with rare beauty, the social evolution we have been considering. Their great mythological Serpent, Yamati-no-orochi, that is, the serpent of eight heads and tails, stretching over eight valleys, would pretty certainly represent a river annually overflowing its banks. One is reminded by this monster of the accounts given by Mencius of the difficulties with streams which the Chinese had to surmount before they could make the Middle States habitable. But this Colonial Dragon, in the further evolution of the country, reappears as the Brutal Dragon. The admirable legend relates that, while the rest of the world were using stone implements, there came into the possession of Sosano-o-no-Mikoto (the Prince of Sosano) a piece of iron which was wrought into a sword. That maiden-sword of the world was fleshed to save a maiden from the jaws of a monster. The prince descended from heaven to a bank of the river Hino Kawa, and the country around seemed uninhabited; but presently he saw a chopped stick floating down the stream, and concluded that there must be beings dwelling farther up; so he travelled until he came to a spot where he beheld an aged man and his wife (Asinaduti and Tenaduti), with their beautiful daughter, Himé of Inada. The three were weeping bitterly, and the prince was informed that Himé was the last of their daughters, seven of whom had been devoured by a terrible serpent. This serpent had eight heads, and the condition on which it had ceased to desolate the district was that one of these eight maidens should be brought annually to this spot to satisfy his voracity. The last had now been brought to complete the dreadful compact. The Japanese are careful to distinguish this serpent from a dragon, with them an agathodemon. It had no feet, and its heads branched by as many necks from a single body, this body being so large that it stretched over eight valleys. It was covered with trees and moss, and its belly was red as blood. The prince doubted if even with his sword he could encounter such a monster, so he resorted to stratagem; he obtained eight vast bowls, filled them with eight different kinds of wine, and, having built a fence with the same number of openings, set a bowl in each. The result may be imagined: the eight heads in passing over the bowls paused, drank deep, and were soon in a state of beastly intoxication. In this condition the heads were severed from their neck, and the maiden saved to wed the first Mikado Prince.