passed were lined with coffins and corpse-like effigies, and the air was rent with the noise of women wailing for the dead Adonis. The circumstance cast a gloom over the sailing of the most splendid armament that Athens ever sent to sea.[1]
These gardens of Adonis are most naturally interpreted as representatives of Adonis or manifestations of his power; they represented him, true to his original nature, in vegetable form, while the images of him, with which they were carried out and cast into the water, represented him in his later anthropomorphic form. All these Adonis ceremonies, if I am right, were originally intended as charms to promote the growth and revival of vegetation; and the principle by which they were supposed to produce this effect was sympathetic magic. As was explained in the first chapter, primitive people suppose that by representing or mimicking the effect which they desire to produce they actually help to produce it; thus by sprinkling water they make rain, by lighting a fire they make sunshine, and so on. Similarly by mimicking the growth of crops, they hope to insure a good harvest. The rapid growth of the wheat and barley in the gardens of Adonis was intended to make the corn shoot up; and the throwing of the gardens and of the images into the water was a charm to secure a due supply of fertilising rain.[2] The same, I take it, was the object of throwing the
- ↑ Plutach, Alcibiades , 18; id., Nicias, 13. The date of the sailing of the fleet is given by Thucydides, vi. 30, θέρους μεσοῦντος ἤδη.
- ↑ In hot southern countries like Egypt and the Semitic regions of Western Asia, where vegetation depends chiefly or entirely upon irrigation, the purpose of the charm is doubtless to secure a plentiful flow of water in the streams. But as the ultimate object and the charms for securing it are the same in both cases, it has not been thought necessary always to point out the distinction.
