in Santorini. 'When they have built a new vessel, they have a grand ceremony at the launching, or benediction, as they call it here, at which the priest officiates; and the crowd eagerly watch, as she glides into the water, the position she takes, for an omen is attached to this. It is customary to slaughter an ox, a lamb or a dove on these occasions, according to the wealth of the proprietor and the size of the ship, and with the blood to make a cross on the deck. After this the captain jumps off the bows into the sea with all his clothes on, and the ceremony is followed by a banquet and much rejoicing.' Here it is reasonable to suppose that the captain by jumping into the sea goes through the form of offering himself as a sacrifice to the genius of the sea, and that the animal actually slaughtered is a surrogate victim in his stead.
The strength of these superstitions to-day, as gauged by the shifts and compromises to which the peasants resort in order to satisfy their scruples, goes far to guarantee the historical accuracy of such ballads as 'the Bridge of Arta.' Not of course that each of the numerous versions with all its local colouring is to be taken as evidence of human sacrifice in each place named; exactitude of detail cannot be claimed for them. But as a faithful picture of the beliefs and customs prevalent not more perhaps than two or three centuries ago they deserve full credence. Both the wide dispersion of the several versions, and also the skill with which in each of them the action of the master-builder evokes feelings not of aversion but rather of pity for a man of whom religious duty demanded the sacrifice of his own wife, furnish plain proof of the domination which the superstition in its most gruesome form once exercised; and the intentions of the modern peasants, if not their acts, testify to the same overwhelming dread of genii.
That the ceremonies which I have described are in general of the nature of sacrifices to genii is beyond question. In the version of 'the Bridge of Arta' which I have translated, both the genius and the victim whom he demands appear as dramatis personae. Again, in some districts the word 'sacrifice' ([Greek: thysio][1] or [Greek: thysia][2]) is actually still applied to the rite. Finally, though, [Greek: Meletê], p. 138.], ibid.).]
