Keleos is the son of the Eponymous hero Eleusis, and his daughters, with the old epic simplicity, carry their basins to the well for water. Eumolpus, Triptolemus, Diokles, heroic ancestors of the privileged families who continued throughout the historical times of Athens to fulfil their special hereditary functions in the Eleusinian solemnities, are among the immediate recipients of inspiration from the goddess; but chiefly does she favor Metaneira and her infant son Dêmophoôn, for the latter of whom her greatest boon is destined, and intercepted only by the weak faith of the mother. Moreover, every incident in the Hymn has a local coloring and a special reference. The well, overshadowed by an olive-tree near which Demeter had rested, the stream Kallichorus and the temple-hill, were familiar and interesting places in the eyes of every Eleusinian; the peculiar posset prepared from barley-meal with mint was always tasted by the Mysts (or communicants) after a prescribed fast, as an article in the ceremony,—while it was also the custom, at a particular spot in the processional march, to permit the free interchange of personal jokes and taunts upon individuals for the general amusement. And these two customs are connected in the Hymn with the incidents. that Dêmêtêr herself had chosen the posset as the first interruption of her long and melancholy fast, and that her sorrowful thoughts had been partially diverted by the coarse playfulness of the servant-maid lambe. In the enlarged representation of the Eleusinian ceremonies, which became established after the incorporation of Eleusis with Athens, the part of lambe herself was enacted by a woman, or man in woman's attire, of suitable wit and imagination, who was posted on the bridge over the Kephissos, and addressed to the passers-by in the procession,[1] especially the great men of Athens, saucy jeers, probably not less piercing than those of Aristophanes on the stage. The torch-bearing Hekatê received a portion of the worship in the nocturnal ceremonies of the Eleusinia: this too is traced, in the Hymn, to her kind and affectionate sympathy with the great goddesses.
- ↑ Aristophanês, Vesp. 1363. Hesych. v. Γεφυρίς. Suidas, v. Γεφυρίζων Compare about the details of the ceremony, Clemens Alexandr. Admon. ad Gent. p. 13. A similar license of unrestrained jocularity appears in the rites of Dêmêtêr in Sicily (Diodôr. v. 4; see also Pausan. vii. 27, 4), and in the worship of Damia and Auxesia at Ægina (Herodot. v. 83).
