Chapter 12. The Sacred Marriage.
Section 1. Diana as a Goddess of Fertility.
WE have seen that according to a widespread belief, which is not without a foundation in
fact, plants reproduce their kinds through the sexual union of male and female elements, and
that on the principle of homoeopathic or imitative magic this reproduction is supposed to be
stimulated by the real or mock marriage of men and women, who masquerade for the time
being as spirits of vegetation. Such magical dramas have played a great part in the popular
festivals of Europe, and based as they are on a very crude conception of natural law, it is
clear that they must have been handed down from a remote antiquity. We shall hardly,
therefore, err in assuming that they date from a time when the forefathers of the civilised
nations of Europe were still barbarians, herding their cattle and cultivating patches of corn
in the clearings of the vast forests, which then covered the greater part of the continent,
from the Mediterranean to the Arctic Ocean. But if these old spells and enchantments for
the growth of leaves and blossoms, of grass and flowers and fruit, have lingered down to
our own time in the shape of pastoral plays and popular merry-makings, is it not reasonable
to suppose that they survived in less attenuated forms some two thousand years ago
among the civilised peoples of antiquity? Or, to put it otherwise, is it not likely that in
certain festivals of the ancients we may be able to detect the equivalents of our May Day,
Whitsuntide, and Midsummer celebrations, with this difference, that in those days the
ceremonies had not yet dwindled into mere shows and pageants, but were still religious or
magical rites, in which the actors consciously supported the high parts of gods and
goddesses? Now in the first chapter of this book we found reason to believe that the
priest who bore the title of King of the Wood at Nemi had for his mate the goddess of the
grove, Diana herself. May not he and she, as King and Queen of the Wood, have been
serious counterparts of the merry mummers who play the King and Queen of May, the
Whitsuntide Bridegroom and Bride in modern Europe? and may not their union have been
yearly celebrated in a theogamy or divine marriage? Such dramatic weddings of gods and
goddesses, as we shall see presently, were carried out as solemn religious rites in many parts
of the ancient world; hence there is no intrinsic improbability in the supposition that the
sacred grove at Nemi may have been the scene of an annual ceremony of this sort. Direct
evidence that it was so there is none, but analogy pleads in favour of the view, as I shall
now endeavour to show. 1
Diana was essentially a goddess of the woodlands, as Ceres was a goddess of the corn
and Bacchus a god of the vine. Her sanctuaries were commonly in groves, indeed every
grove was sacred to her, and she is often associated with the forest god Silvanus in
dedications. But whatever her origin may have been, Diana was not always a mere goddess
of trees. Like her Greek sister Artemis, she appears to have developed into a personification
of the teeming life of nature, both animal and vegetable. As mistress of the greenwood she
would naturally be thought to own the beasts, whether wild or tame, that ranged through
it, lurking for their prey in its gloomy depths, munching the fresh leaves and shoots among
the boughs, or cropping the herbage in the open glades and dells. Thus she might come to
be the patron goddess both of hunters and herdsmen, just as Silvanus was the god not
only of woods, but of cattle. Similarly in Finland the wild beasts of the forest were regarded
as the herds of the woodland god Tapio and of his stately and beautiful wife. No man might
slay one of these animals without the gracious permission of their divine owners. Hence the
hunter prayed to the sylvan deities, and vowed rich offerings to them if they would drive
the game across his path. And cattle also seem to have enjoyed the protection of those
spirits of the woods, both when they were in their stalls and while they strayed in the
forest. Before the Gayos of Sumatra hunt deer, wild goats, or wild pigs with hounds in the
woods, they deem it necessary to obtain the leave of the unseen Lord of the forest. This is
done according to a prescribed form by a man who has special skill in woodcraft. He lays
down a quid of betel before a stake which is cut in a particular way to represent the Lord of
the Wood, and having done so he prays to the spirit to signify his consent or refusal. In his
treatise on hunting, Arrian tells us that the Celts used to offer an annual sacrifice to Artemis
on her birthday, purchasing the sacrificial victim with the fines which they had paid into her
treasury for every fox, hare, and roe that they had killed in the course of the year. The
custom clearly implied that the wild beasts belonged to the goddess, and that she must be
compensated for their slaughter. 2
But Diana was not merely a patroness of wild beasts, a mistress of woods and hills, of
lonely glades and sounding rivers; conceived as the moon, and especially, it would seem, as
the yellow harvest moon, she filled the farmer's grange with goodly fruits, and heard the
prayers of women in travail. In her sacred grove at Nemi, as we have seen, she was
especially worshipped as a goddess of childbirth, who bestowed offspring on men and
women. Thus Diana, like the Greek Artemis, with whom she was constantly identified, may
be described as a goddess of nature in general and of fertility in particular. We need not
wonder, therefore, that in her sanctuary on the Aventine she was represented by an image
copied from the many-breasted idol of the Ephesian Artemis, with all its crowded emblems
of exuberant fecundity. Hence too we can understand why an ancient Roman law,
attributed to King Tullus Hostilius, prescribed that, when incest had been committed, an
expiatory sacrifice should be offered by the pontiffs in the grove of Diana. For we know
that the crime of incest is commonly supposed to cause a dearth; hence it would be meet
that atonement for the offence should be made to the goddess of fertility. 3
Now on the principle that the goddess of fertility must herself be fertile, it behoved Diana
to have a male partner. Her mate, if the testimony of Servius may be trusted, was that
Virbius who had his representative, or perhaps rather his embodiment, in the King of the
Wood at Nemi. The aim of their union would be to promote the fruitfulness of the earth, of
animals, and of mankind; and it might naturally be thought that this object would be more
surely attained if the sacred nuptials were celebrated every year, the parts of the divine
bride and bridegroom being played either by their images or by living persons. No ancient
writer mentions that this was done in the grove at Nemi; but our knowledge of the Arician
ritual is so scanty that the want of information on this head can hardly count as a fatal
objection to the theory. That theory, in the absence of direct evidence, must necessarily be
based on the analogy of similar customs practised elsewhere. Some modern examples of
such customs, more or less degenerate, were described in the last chapter. Here we shall
consider their ancient counterparts. 4
Section 2. The Marriage of the Gods.
AT BABYLON the imposing sanctuary of Bel rose like a pyramid above the city in a series of
eight towers or stories, planted one on the top of the other. On the highest tower, reached
by an ascent which wound about all the rest, there stood a spacious temple, and in the
temple a great bed, magnificently draped and cushioned, with a golden table beside it. In the
temple no image was to be seen, and no human being passed the night there, save a single
woman, whom, according to the Chaldean priests, the god chose from among all the
women of Babylon. They said that the deity himself came into the temple at night and slept
in the great bed; and the woman, as a consort of the god, might have no intercourse with
mortal man. 1
At Thebes in Egypt a woman slept in the temple of Ammon as the consort of the god,
and, like the human wife of Bel at Babylon, she was said to have no commerce with a man.
In Egyptian texts she is often mentioned as "the divine consort," and usually she was no
less a personage than the Queen of Egypt herself. For, according to the Egyptians, their
monarchs were actually begotten by the god Ammon, who assumed for the time being the
form of the reigning king, and in that disguise had intercourse with the queen. The divine
procreation is carved and painted in great detail on the walls of two of the oldest temples in
Egypt, those of Deir el Bahari and Luxor; and the inscriptions attached to the paintings
leave no doubt as to the meaning of the scenes. 2
At Athens the god of the vine, Dionysus, was annually married to the Queen, and it
appears that the consummation of the divine union, as well as the espousals, was enacted at
the ceremony; but whether the part of the god was played by a man or an image we do not
know. We learn from Aristotle that the ceremony took place in the old official residence of
the King, known as the Cattle-stall, which stood near the Prytaneum or Town-hall on the
north-eastern slope of the Acropolis. The object of the marriage can hardly have been any
other than that of ensuring the fertility of the vines and other fruit-trees of which
Dionysus was the god. Thus both in form and in meaning the ceremony would answer to
the nuptials of the King and Queen of May. 3
In the great mysteries solemnised at Eleusis in the month of September the union of the
sky-god Zeus with the corn-goddess Demeter appears to have been represented by the
union of the hierophant with the priestess of Demeter, who acted the parts of god and
goddess. But their intercourse was only dramatic or symbolical, for the hierophant had
temporarily deprived himself of his virility by an application of hemlock. The torches having
been extinguished, the pair descended into a murky place, while the throng of worshippers
awaited in anxious suspense the result of the mystic congress, on which they believed their
own salvation to depend. After a time the hierophant reappeared, and in a blaze of light
silently exhibited to the assembly a reaped ear of corn, the fruit of the divine marriage. Then
in a loud voice he proclaimed, "Queen Brimo has brought forth a sacred boy Brimos," by
which he meant, "The Mighty One has brought forth the Mighty." The corn-mother in fact
had given birth to her child, the corn, and her travail-pangs were enacted in the sacred
drama. This revelation of the reaped corn appears to have been the crowning act of the
mysteries. Thus through the glamour shed round these rites by the poetry and philosophy
of later ages there still looms, like a distant landscape through a sunlit haze, a simple rustic
festival designed to cover the wide Eleusinian plain with a plenteous harvest by wedding the
goddess of the corn to the sky-god, who fertilised the bare earth with genial showers.
Every few years the people of Plataea, in Boeotia, held a festival called the Little Daedala, at
which they felled an oak-tree in an ancient oak forest. Out of the tree they carved an
image, and having dressed it as a bride, they set it on a bullock-cart with a bridesmaid
beside it. The image seems then to have been drawn to the bank of the river Asopus and
back to the town, attended by a piping and dancing crowd. Every sixty years the festival of
the Great Daedala was celebrated by all the people of Boeotia; and at it all the images,
fourteen in number, which had accumulated at the lesser festivals, were dragged on wains in
procession to the river Asopus and then to the top of Mount Cithaeron, where they were
burnt on a great pyre. The story told to explain the festivals suggests that they celebrated
the marriage of Zeus to Hera, represented by the oaken image in bridal array. In Sweden
every year a life-size image of Frey, the god of fertility, both animal and vegetable, was
drawn about the country in a waggon attended by a beautiful girl who was called the god's
wife. She acted also as his priestess in his great temple at Upsala. Wherever the waggon
came with the image of the god and his blooming young bride, the people crowded to meet
them and offered sacrifices for a fruitful year. 4
Thus the custom of marrying gods either to images or to human beings was widespread
among the nations of antiquity. The ideas on which such a custom is based are too crude to
allow us to doubt that the civilised Babylonians, Egyptians, and Greeks inherited it from
their barbarous or savage forefathers. This presumption is strengthened when we find rites
of a similar kind in vogue among the lower races. Thus, for example, we are told that once
upon a time the Wotyaks of the Malmyz district in Russia were distressed by a series of bad
harvests. They did not know what to do, but at last concluded that their powerful but
mischievious god Keremet must be angry at being unmarried. So a deputation of elders
visited the Wotyaks of Cura and came to an understanding with them on the subject. Then
they returned home, laid in a large stock of brandy, and having made ready a gaily decked
waggon and horses, they drove in procession with bells ringing, as they do when they are
fetching home a bride, to the sacred grove at Cura. There they ate and drank merrily all
night, and next morning they cut a square piece of turf in the grove and took it home with
them. After that, though it fared well with the people of Malmyz, it fared ill with the people
of Cura; for in Malmyz the bread was good, but in Cura it was bad. Hence the men of Cura
who had consented to the marriage were blamed and roughly handled by their indignant
fellow-villagers. "What they meant by this marriage ceremony," says the writer who reports
it, "it is not easy to imagine. Perhaps, as Bechterew thinks, they meant to marry Keremet to
the kindly and fruitful Mukylcin, the Earth-wife, in order that she might influence him for
good." When wells are dug in Bengal, a wooden image of a god is made and married to the
goddess of water. 5
Often the bride destined for the god is not a log or a cloud, but a living woman of flesh
and blood. The Indians of a village in Peru have been known to marry a beautiful girl, about
fourteen years of age, to a stone shaped like a human being, which they regarded as a god
(huaca). All the villagers took part in the marriage ceremony, which lasted three days, and
was attended with much revelry. The girl thereafter remained a virgin and sacrificed to the
idol for the people. They showed her the utmost reverence and deemed her divine. Every
year about the middle of March, when the season for fishing with the dragnet began, the
Algonquins and Hurons married their nets to two young girls, aged six or seven. At the
wedding feast the net was placed between the two maidens, and was exhorted to take
courage and catch many fish. The reason for choosing the brides so young was to make
sure that they were virgins. The origin of the custom is said to have been this. One year,
when the fishing season came round, the Algonquins cast their nets as usual, but took
nothing. Surprised at their want of success, they did not know what to make of it, till the
soul or genius (oki) of the net appeared to them in the likeness of a tall well-built man, who
said to them in a great passion, "I have lost my wife and I cannot find one who has known
no other man but me; that is why you do not succeed, and why you never will succeed till
you give me satisfaction on this head." So the Algonquins held a council and resolved to
appease the spirit of the net by marrying him to two such very young girls that he could
have no ground of complaint on that score for the future. They did so, and the fishing
turned out all that could be wished. The thing got wind among their neighbours the Hurons,
and they adopted the custom. A share of the catch was always given to the families of the
two girls who acted as brides of the net for the year. 6
The Oraons of Bengal worship the Earth as a goddess, and annually celebrate her marriage
with the Sun-god Dharme at the time when the sal tree is in blossom. The ceremony is as
follows. All bathe, then the men repair to the sacred grove (sarna), while the women
assemble at the house of the village priest. After sacrificing some fowls to the Sun-god and
the demon of the grove, the men eat and drink. "The priest is then carried back to the
village on the shoulders of a strong man. Near the village the women meet the men and
wash their feet. With beating of drums and singing, dancing, and jumping, all proceed to the
priest's house, which has been decorated with leaves and flowers. Then the usual form of
marriage is performed between the priest and his wife, symbolising the supposed union
between Sun and Earth. After the ceremony all eat and drink and make merry; they dance
and sing obscene songs, and finally indulge in the vilest orgies. The object is to move the
mother earth to become fruitful." Thus the Sacred Marriage of the Sun and Earth,
personated by the priest and his wife, is celebrated as a charm to ensure the fertility of the
ground; and for the same purpose, on the principle of homoeopathic magic, the people
indulge in licentious orgy. 7
It deserves to be remarked that the supernatural being to whom women are married is
often a god or spirit of water. Thus Mukasa, the god of the Victoria Nyanza lake, who was
propitiated by the Baganda every time they undertook a long voyage, had virgins provided
for him to serve as his wives. Like the Vestals they were bound to chastity, but unlike the
Vestals they seem to have been often unfaithful. The custom lasted until Mwanga was
converted to Christianity. The Akikuyu of British East Africa worship the snake of a certain
river, and at intervals of several years they marry the snake-god to women, but especially
to young girls. For this purpose huts are built by order of the medicine-men, who there
consummate the sacred marriage with the credulous female devotees. If the girls do not
repair to the huts of their own accord in sufficient numbers, they are seized and dragged
thither to the embraces of the deity. The offspring of these mystic unions appears to be
fathered on God (ngai); certainly there are children among the Akikuyu who pass for
children of God. It is said that once, when the inhabitants of Cayeli in Buru-an East Indian
island-were threatened with destruction by a swarm of crocodiles, they ascribed the
misfortune to a passion which the prince of the crocodiles had conceived for a certain girl.
Accordingly, they compelled the damsel's father to dress her in bridal array and deliver her
over to the clutches of her crocodile lover. 8
A usage of the same sort is reported to have prevailed in the Maldive Islands before the
conversion of the inhabitants to Islam. The famous Arab traveller Ibn Batutah has described
the custom and the manner in which it came to an end. He was assured by several
trustworthy natives, whose names he gives, that when the people of the islands were
idolaters there appeared to them every month an evil spirit among the jinn, who came from
across the sea in the likeness of a ship full of burning lamps. The wont of the inhabitants, as
soon as they perceived him, was to take a young virgin, and, having adorned her, to lead
her to a heathen temple that stood on the shore, with a window looking out to sea. There
they left the damsel for the night, and when they came back in the morning they found her
a maid no more, and dead. Every month they drew lots, and he upon whom the lot fell gave
up his daughter to the jinnee of the sea. The last of the maidens thus offered to the demon
was rescued by a pious Berber, who by reciting the Koran succeeded in driving the jinnee
back into the sea. 9
Ibn Batutah's narrative of the demon lover and his mortal brides closely resembles a
well-known type of folk-tale, of which versions have been found from Japan and Annam in
the East to Senegambia, Scandinavia, and Scotland in the West. The story varies in details
from people to people, but as commonly told it runs thus. A certain country is infested by a
many-headed serpent, dragon, or other monster, which would destroy the whole people if
a human victim, generally a virgin, were not delivered up to him periodically. Many victims
have perished, and at last it has fallen to the lot of the king's own daughter to be sacrificed.
She is exposed to the monster, but the hero of the tale, generally a young man of humble
birth, interposes in her behalf, slays the monster, and receives the hand of the princess as
his reward. In many of the tales the monster, who is sometimes described as a serpent,
inhabits the water of a sea, a lake, or a fountain. In other versions he is a serpent or dragon
who takes possession of the springs of water, and only allows the water to flow or the
people to make use of it on condition of receiving a human victim. 10
It would probably be a mistake to dismiss all these tales as pure inventions of the
story-teller. Rather we may suppose that they reflect a real custom of sacrificing girls or
women to be the wives of waterspirits, who are very often conceived as great serpents or
dragons. 11
