The figure of Demeter, the mater dolorosa of paganism, the sorrowing mother seated on the stone of lamentation, is the most touching in Greek mythology. The beautiful marble statue found by Mr. Newton at Cnidos, and now in the British Museum, has the sentiment and the expression of a Madonna. Nowhere in ancient religion was human love, regret, hope and desiderium or wistful longing typified so clearly as in the myth and ritual of Demeter. She is severed from her daughter, Persephone, who goes down among the dead, but they are restored to each other in the joy of the spring's renewal. The mysteries of Eleusis, which represented these events in a miracle-play, were certainly understood by Plato and Pindar and Æschylus to have a mystic and pathetic significance. They shadowed forth the consolations that the soul has fancied for herself, and gave promise of renewed and undisturbed existence in the society of all who have been dear on earth. Yet Aristophanes, in the Frogs, ventures even here to bring in his raillery, and makes Xanthias hint that the mystÆ, the initiate, "smell of roast-pig". No doubt they had been solemnly sacrificing, and probably tasting the flesh of the pig, the sacred animal of Demeter, whose bones, with clay or marble figurines representing him, are found in the holy soil of her temples. Thus even in the mystery of Demeter the grotesque, the barbaric element appears, and it often declares itself in her legend and in her ritual.

A scientific study of Demeter must endeavour to disentangle the two main factors in her myth and cult, and to hold them apart. For this purpose it is necessary to examine the development of the cult as far as it can be traced.

As to the name of the goddess, for once there is agreement, and even certainty. It seems hardly to be disputed that Demeter is Greek, and means mother-earth or earth the mother.*

There is his mythological panacea. Mannhardt is all for "Corn-mother," Corn being nothing peculiarly Hellenic or Aryan in the adoration of earth. A comparative study of earth-worship would prove it to be very widely diffused, even among non-European tribes. The Demeter cult, however, is distinct enough from the myth of GÆa, the Earth, considered as, in conjunction with Heaven, the parent of the gods. Demeter is rather the fruitful soil regarded as a person than the elder Titanic formless earth personified as GÆa. Thus conceived as the foster-mother of life, earth is worshipped in America by the Shawnees and Potawatomies as Me-mk-kum-mik-o-kwi, the "mother of earth" It will be shown that this goddess appears casually in a Potawatomie legend, which is merely a savage version of the sacred story of Eleusis.* Tacitus found that Mother Hertha was adored in Germany with rites so mysterious that the slaves who took part in them were drowned. "Whereof ariseth a secret terror and an holy ignorance what that should be which they only see who are a-perishing."** It is curious that in the folk-lore of Europe, up to this century, food-offerings to the earth were buried in Germany and by Gipsies; for the same rite is practised by the Potawatomies.***

The Mexican Demeter, Centeotl, is well known, and Acosta's account of religious ceremonies connected with harvest in Mexico and Peru might almost be taken for a description of the Greek Eiresione. The god of agriculture among the Tongan Islanders has one very curious point of resemblance to Demeter. In the Iliad (v. 505) we read that Demeter presides over the fanning of the grain. "Even as a wind carrieth the chaff about the sacred threshing-floors when men are winnowing, what time golden Demeter, in rush of wind, maketh division of grain and chaff.".... Now the name of the "god of wind, and weather, rain, harvest and vegetation in general" in the Tongan Islands is Alo-Alo, literally "to fan".* One is reminded of Joachim Du Bellay's poem, "To the Winnowers of Corn". Thus from all these widely diffused examples it is manifest that the idea of a divinity of earth, considered as the mother of fruits, and as powerful for good or harm in harvest-time, is anything but peculiar to Greece or to Aryan peoples. In her character as potent over this department of agriculture, the Greek goddess was named "she of the rich threshing-floors," "of the corn heaps," "of the corn in the ear," "of the harvest-home," "of the sheaves," "of the fair fruits," "of the goodly gifts," and so forth.**

In popular Greek religion, then, Demeter was chiefly regarded as the divinity of earth at seed-time and harvest. Perhaps none of the gods was worshipped in so many different cities and villages, or possessed so large a number of shrines and rustic chapels. There is a pleasant picture of such a chapel, with its rural disorder, in the Golden Ass of Apuleius. Psyche, in her search for Cupid, "came to the temple and went in, whereas behold she espied sheaves of corn lying on a heap, blades with withered garlands, and reeds of barley. Moreover, she saw hooks, scythes, sickles and other instruments to reape, but everie thing laide out of order, and as it were cast in by the hands of labourers; which when Psyche saw she gathered up and put everything in order." The chapel of Demeter, in short, was a tool-house, dignified perhaps with some rude statue and a little altar. Every village, perhaps every villa, would have some such shrine.

Behind these observances, and behind the harvest-homes and the rites—half ritual, half folk-lore—which were expected to secure the fertility of the seed sown, there lurked in the minds of priests and in the recesses of sanctuaries certain mystic and secret practices of adoration. In these mysteries Demeter was doubtless worshipped in her Chthonian character as a goddess of earth, powerful over those who are buried in her bosom, over death and the dead. In these hidden mysteries of her cult, moreover, survived ancient legends of the usual ugly sort, tales of the amours of the goddess in bestial guise. Among such rites Pausanias mentions, at Hermione of Dryopian Argolis, the fete of Chthonian Demeter, a summer festival. The procession of men, women, boys and priests dragged a struggling heifer to the doors of the temple, and thrust her in unbound. Within the fane she was butchered by four old women armed with sickles. The doors were then opened, and a second and third heifer were driven in and slain by the old women. "This marvel attends the sacrifice, that all the heifers fall on the same side as the first that was slain." There remains somewhat undivulged. "The things which they specially worship, I know not, nor any man, neither native or foreigner, but only the ancient women concerned in the rite."* In Arcadia there was a temple of Demeter, whose priests boasted a connection with Eleusis, and professed to perform the mysteries in the Eleusinian manner. Here stood two great stones, with another over them, probably (if we may guess) a prehistoric dolmen. Within the dolmen, which was so revered that the neighbours swore their chief oath by it, were kept certain sacred scriptures. These were read aloud once a year to the initiated by a priest who covered his face with a mask of Demeter. At the same time he smote the earth with rods, and called on the folk below the earth. Precisely the same practice, smiting the earth with rods, is employed by those who consult diviners among the Zulus.** The Zulu woman having a spirit of divination says, "Strike the ground for them" (the spirits). "See, they say you came to inquire about something." The custom of wearing a mask of the deity worshipped is common in the religions of animal-worship in Egypt, Mexico, the South Seas and elsewhere. The Aztec celebrant, we saw, wore a mask made of the skin of the thigh of the human victim. Whether this Arcadian Demeter was represented with the head of a beast does not appear; she had a mare's head in Phigalia. One common point between this Demeter of the PheneatÆ and the Eleusinian is her taboo on beans, which are so strangely mystical a vegetable in Greek and Roman ritual.***

The Black Demeter of the Phigalians in Arcadia was another most archaic form of the goddess. In Phigalia the myth of the wrath and reconciliation of the goddess assumed a brutal and unfamiliar aspect. The common legend, universally known, declares that Demeter sorrowed for the enlevement of her daughter, Persephone, by Hades. The Phigalians added another cause; the wandering Demeter had assumed the form of a mare, and was violently wooed by Poseidon in the guise of a stallion.*

The goddess, in wrath at this outrage, attired herself in black mourning raiment, and withdrew into a cave, according to the Phigalians, and the fruits of the earth perished. Zeus learned from Pan the place of Demeter's retreat, and sent to her the MoerÆ or Fates, who persuaded her to abate her anger. The cave became her holy place, and there was set an early wooden xoanon, or idol, representing the goddess in the shape of a woman with the head and mane of a mare, in memory of her involuntary intrigue in that shape. Serpents and other creatures were twined about her head, and in one hand, for a mystic reason undivulged, she held a dolphin, in the other a dove. The wooden image was destroyed by fire, and disasters fell on the Phigalians. Onatas was then employed to make a bronze statue like the old idol, wherof the fashion was revealed to him in a dream. This restoration was made about the time of the Persian war. The sacrifices offered to this Demeter were fruits, grapes, honey and uncarded wool; whence it is clear that the black goddess was a true earth-mother, and received the fruits of the earth and the flock. The image by Onatas had somewhat mysteriously disappeared before the days of Pausanias.*

Even in her rude Arcadian shape Demeter is a goddess of the fruits of earth. It is probable that her most archaic form survived from the "Pelasgian" clays in remote mountainous regions. Indeed Herodotus, observing the resemblance between the Osirian mysteries in Egypt and the Thesmophoria of Demeter in Greece, boldly asserts that the Thesmophoria were Egyptian, and were brought to the Pelasgians from Egypt (ii. 171). The Pelasgians were driven out of Peloponnesus by the Dorians, and the Arcadians, who were not expelled, retained the rites. As Pelasgians also lingered long in Attica, Herodotus recognised the Thesmophoria as in origin Egyptian. In modern language this theory means that the Thesmophoria were thought to be a rite of prehistoric antiquity older than the Dorian invasion. Herodotus naturally explained resemblances in the myth and ritual of distant peoples as the result of borrowing, usually from Egypt, an idea revived by M. Foucart. These analogies, however, are more frequently produced by the working out of similar thoughts, presenting themselves to minds similarly situated in a similar way. The mysteries of Demeter offer an excellent specimen of the process. While the Greeks, not yet collected into cities, lived in village settlements, each village would possess its own feasts, mysteries and "medicine-dances," as the Red Indians say, appropriate to seedtime and harvest. For various reasons, certain of these local rites attained high importance in the development of Greek civilisation The Eleusinian performances, for instance, were adopted into the state ritual of a famous city, Athens, and finally acquired a national status, being open to all not disqualified Hellenes. In this development the old local ritual for the propitiation of Demeter, for the fertility of the seed sown, and for the gratification of the dead ancestors, was caught up into the religion of the state, and was modified by advancing ideas of religion and morality. But the local Athenian mystery of the Thesmophoria probably retained more of its primitive shape and purpose.

The Thesmophoria was the feast of seed-time, and Demeter was adored by the women as the patroness of human as well as of universal fertility. Thus a certain jocund and licentious element was imparted to the rites, which were not to be witnessed by men.

The Demeter of the Thesmophoria was she who introduced and patronised the (———) of marriage, as Homer says of Odysseus and Penelope.* What was done at the Thesmophoria Herodotus did not think fit to tell. A scholiast on Lucian's Dialogues of Courtesans let out the secret in a much later age. He repeats the story of the swineherd Eubuleus, whose pigs were swallowed up by the earth when it opened to receive Hades and Persephone. In honour and in memory of Eubuleus, pigs were thrown into the cavernof Demeter. Then certain women brought up the decaying flesh of the dead pigs, and placed it on the altar. It was believed that to mix this flesh with the seed-corn secured abundance of harvest. Though the rite is magical in character, perhaps the decaying flesh might act as manure, and be of real service to the farmer. Afterwards images of pigs, such as Mr. Newton found in a hole in the holy plot of Demeter at Cnidos, were restored to the place whence the flesh had been taken. The practice was believed to make marriage fruitful; its virtues were for the husband as well as for the husbandman.** However the Athenians got the rite, whether they evolved it or adapted it from some "Pelasgian" or other prehistoric people, similar practices occur among the Khonds in India and the Pawnees in America. The Khonds sacrifice a pig and a human victim, the Pawnees a girl of a foreign tribe.

The fragments of flesh are not mixed with the seed-corn, but buried on the borders of the fields.* The ancient, perhaps "Pelasgian," ritual of Demeter had thus its savage features and its savage analogues. More remarkable still is the Pawnee version, as we may call it, of the Eleusinia. Curiously, the Red Indian myth which resembles that of Demeter and Persephone is not told about Me-suk-kum-mik-o-kwi, the Red Indian Mother Earth, to whom offerings are made, valuable objects being buried for her in brass kettles.** The American tale is attached to the legend of Manabozho and his brother Chibiabos, not to that of the Earth Mother and her daughter, if in America she had a daughter.

The account of the Pawnee mysteries and their origin is worth quoting in full, as it is among the most remarkable of mythical coincidences. If we decline to believe that Pere De Smet invented the tale for the mere purpose of mystifying mythologists, we must, apparently, suppose that the coincidences are due to the similar workings of the human mind in the Prairies as at Eleusis. We shall first give the Red Indian version. It was confided to De Smet, as part of the general tradition of the Pawnees, by an old chief, and was first published by De Smet in his Oregon Mission*** Tanner speaks of the legend as one that the Indians chant in their "medicine-songs," which record the sacred beliefs of the race.****

He adds that many of these songs are noted down, by a method probably peculiar to the Indians, on birch-bark or small flat pieces of wood, the ideas being conveyed by emblematical figures. When it is remembered that the luck of the tribe depends on these songs and rites, it will be admitted that they are probably of considerable antiquity, and that the Indians probably did not borrow the story about the origin of their ritual from some European conversant with the Homeric hymn to Demeter.

Here follows the myth, as borrowed (without acknowledgment) by Schoolcraft from De Smet:—*

"The Manitos (powers or spirits) were jealous of Manabozho and Chibiabos. Manabozho warned his brother never to be alone, but one day he ventured on the frozen lake and was drowned by the Manitos. Manabozho wailed along the shores. He waged a war against all the Manitos.... He called on the dead body of his brother. He put the whole country in dread by his lamentations. He then besmeared his face with black, and sat down six years to lament, uttering the name of Chibiabos. The Manitos consulted what to do to assuage his melancholy and his wrath. The oldest and wisest of them, who had had no hand in the death of Chibiabos, offered to undertake the task of reconciliation. They built a sacred lodge close to that of Manabozho, and prepared a sumptuous feast. They then assembled in order, one behind the other, each carrying under his arm a sack of the skin of some favourite animal, as a beaver, an otter, or a lynx, and filled with precious and curious medicines culled from all plants. These they exhibited, and invited him to the feast with pleasing words and ceremonies. He immediately raised his head, uncovered it, and washed off his besmearments and mourning colours, and then followed them. They offered him a cup of liquor prepared from the choicest medicines, at once as a propitiation and an initiatory rite. He drank it at a single draught, and found his melancholy departed. They then commenced their dances and songs, united with various ceremonies. All danced, all sang, all acted with the utmost gravity, with exactness of time, motion and voice. Manabozho was cured; he ate, danced, sang and smoked the sacred pipe.

"In this manner the mysteries of the great medicine-dance were introduced.

"The Manitos now united their powers to bring Chibiabos to life. They did so, and brought him to life, but it was forbidden to enter the lodge. They gave him, through a chink, a burning coal, and told him to go and preside over the country of souls and reign over the land of the dead.

"Manabozho, now retired from men, commits the care of medicinal plants to Misukumigakwa, or the Mother of the Earth, to whom he makes offerings."

In all this the resemblance to the legend of the Homeric hymn to Demeter is undeniable. The hymn is too familiar to require a long analysis. We read how Demeter had a fair daughter, Persephone; how the Lord of the Dead carried her off as she was gathering flowers; how Demeter sought her with burning torches; and how the goddess came to Eleusis and the house of Celeus in the guise of an old wife. There she dwelt in sorrow, neither eating nor drinking, till she tasted of a mixture of barley and water (cyceon), and was moved to smile by the mirth of Iambe. Yet she still held apart in wrath from the society of the gods, and still the earth bore not her fruits, till the gods bade Hermes restore Persephone. But Persephone had tasted one pomegranate-seed in Hades, and therefore, according to a world-wide belief, she was under bonds to Hades. For only half the year does she return to earth; yet by this Demeter was comforted; the soil bore fruits again, and Demeter showed forth to the chiefs of Eleusis her sacred mysteries and the ritual of their performance.*

The Persephone myth is not in Homer, though in Homer Persephone is Lady of the Dead. Hesiod alludes to it in the Theogony (912-914); but the chief authority is the Homeric hymn, which Matthaeus found (1777) in a farmyard at Moscow. "Inter pullos et porcos latuerat"—the pigs of Demeter had guarded the poem of her mysteries.** As to the date and authorship of the hymn, the learned differ in opinion. Probably most readers will regard it as a piece of poetry, like the hymn to Aphrodite, rather than as a "mystic chain of verse" meant solely for hieratic purposes. It is impossible to argue with safety that the Eleusinian mysteries and legend were later than Homer, because Homer does not allude to them.

He has no occasion to speak of them. Possibly the mysteries were, in his time, but the rites of a village or little town; they attained celebrity owing to their adoption by Athens, and they ended by becoming the most famous national festival. The meaning of the legend, in its origin, was probably no more than a propitiation of earth, and a ceremony that imitated, and so secured, the return of spring and vegetation. This early conception, which we have found in America, was easily combined with doctrines of the death and revival, not of the year, not of the seed sown, but of the human soul. These ideas were capable of endless illustration and amplification by priests; and the mysteries, by Plato's time, and even by Pindar's, were certainly understood to have a purifying influence on conduct and a favourable effect on the fortunes of the soul in the next world.

"Happy whosoever of mortal men has looked on these things; but whoso hath had no part nor lot in this sacrament hath no equal fate when once he hath perished and passed within the pall of darkness."* Of such rites we may believe that Plato was thinking when he spoke of "beholding apparitions innocent and simple, and calm and happy, as in a mystery"** Nor is it strange that, when Greeks were seeking for a sign, and especially for some creed that might resist the new worship of Christ, Plutarch and the Neo-Platonic philosophers tried to cling to the promise of the mysteries of Demeter.

They regarded her secret things as "a dreamy shadow of that spectacle and that rite," the spectacle and rite of the harmonious order of the universe, some time to be revealed to the souls of the blessed.* It may not have been a drawback to the consolations of the hidden services that they made no appeal to the weary and wandering reason of the later heathens. Tired out with endless discourse on fate and free will, gods and demons, allegory and explanation, they could repose on mere spectacles and ceremonies and pious ejaculations, "without any evidence or proof offered for the statements ". Indeed, writers like Plutarch show almost the temper of Pascal, trying to secure rest for their souls by a wise passiveness and pious contemplation, and participation in sacraments not understood.

As to the origin of these sacraments, we may believe, with Lobeck, that it was no priestly system of mystic and esoteric teaching, moral or physical. It was but the "medicine-dance" of a very old Greek tribal settlement, perhaps from the first with an ethical element. But from this, thanks to the genius of Hellas, sprang all the beauty of the Eleusinian ritual, and all the consolation it offered the bereaved, all the comfort it yielded to the weary and heavy laden.** That the popular religious excitement caused by the mysteries and favoured by the darkness often produced scenes of lustful revelry, may be probable enough. "Revivals" everywhere have this among other consequences. But we may share Lobeck's scepticism as to the wholesale charges of iniquity brought by the Fathers.

In spite of survivals and slanders, the religion of Demeter was among the most natural, beautiful and touching of Greek beliefs. The wild element was not lacking; but a pious contemporary of Plato, when he bathed in the sea with his pig before beholding the mystery-play, probably made up his mind to blink the barbaric and licentious part of the performances.