Part 4

The ark or chest of Osiris was attended by the priests, and was borne on the shoulders of men by means of staves. The ark when taken from the temple was placed upon a table, or stand, made expressly for the purpose, and was attended by a procession similar to that which followed the Jewish ark. According to Faber, the ark was a symbol of the earth or female principle, containing the germ of all animated nature, and regarded as the great mother whence all things sprung. Thus the ark, earth, and goddess, were represented by common symbols, and spoken of in the old Testament as the “ashera.”

The sacred emblems carried in the ark of the Egyptians were the Phallus, the Egg, and the Serpent; the first representing the sun, fire, and male or generative principle—the Creator; the second, the passive or female, the germ of all animated things—the Preserver; and the last the Destroyer: the Three of the sacred Trinity. The Hindu women, according to Payne Knight, still carry the lingam, or consecrated symbol of the generative attribute of the deity, in solemn procession between two serpents; and in a sacred casket, which held the Egg and the Phallus in the mystic processions of the Greeks, was also a Serpent.

“The ark,” says Faber, “was reverenced in all the ancient religions.” It was often represented in the form of a boat, or ship, as well as an oblong chest. The rites of the Druids, with those of Phœnicia and Hindostan, show that an ark, chest, cell, boat, or cavern, held an important place in their mysteries. In the story of Osiris, like that of the Siva, will be found the reason for the emblem being carried in the sacred chest, and the explanation of one of the mysteries of the Egyptian priests. It is said that Osiris was torn to pieces by the wicked Typhon, who after cutting up the body, distributed the parts over the earth. Isis recovered the scattered limbs, and brought them back to Egypt; but, being unable to find the part which distinguished his sex, she had an image made of wood, which was enshrined in an ark, and ordered to be solemnly carried about in the festivals she had instituted in his honour, and celebrated with certain secret rites.

The Egg, which accompanied the Phallus in the ark was a very common symbol of the ancient faiths, which was considered as containing the generation of life. The image of that which generated all things in itself. Jacob Bryant says:—“The Egg, as it contained the principles of life was thought no improper emblem of the ark, in which were preserved the future world. Hence in the Dionysian and in other mysteries, one part of the nocturnal ceremony consisted in the consecration of an egg.” This egg was called the Mundane Egg.

The ark was likewise the symbol of salvation, the place of safety, the secret receptacle of the divine wisdom. Hence we find the ark of the Jews containing the tables of the law; we find too that the Jews were ordered to place in the ark Aaron’s rod, which budded, conveying the idea of symbolised fertility: showing that the ark was considered as the receptacle of the life principle—as an emblem of the Creator.

With the Egyptians Osiris was supposed to be buried in the ark, which represented the disappearance of the deity. His loss, or death, constituted the first part of the mysteries, which consisted of lamentations for his decease. After the third day from his death, a procession went down to the seaside in the night, carrying the ark with them. During the passage they poured drink offerings from the river, and when the ceremony had been duly performed, they raised a shout that Osiris had again risen—that the dead had been restored to life. After this followed the second or joyful part of the mysteries. The similarity of this custom with the Good Friday celebrations of the death of Jesus, and the rejoicings on account of his resurrection on Easter Sunday, will be at once observed. It is further said that the missing part of Osiris was eaten by a fish, which made the fish a sacred symbol. Thus we have the Ark, Fish, and Good Friday brought together, also the Egg, for the origin of the Easter eggs is very ancient. A bull is represented as breaking an egg with his horn, which signified the liberating of imprisoned life at the opening or spring of the year, which had been destroyed by Typhon. The opening of the year at that time commenced in the spring, not according to our present reckoning; thus, the Egg was a symbol of the resurrection of life at the spring, or our Easter time. The author of the “Worship of the Generative Powers,” describes the origin of the hot cross-bun at Easter, which is a further parallelism of the Christian and Pagan festivals. The author also draws a further conclusion—that the cakes or buns have in reality a Phallic origin, for in France and other parts, the Easter cakes were called after the _membrum virile_. The writer says:—“In the primitive Teutonic mythology, there was a female deity named in old German, Ostara, and in Anglo-Saxon, Eastre or Eostre; but all we know of her is the simple statement of our father of history, Bede, that her festival was celebrated by the ancient Saxons in the month of April, from which circumstance that month was named by the Anglo-Saxons, Easter-mona or Eoster-mona, and that the name of the goddess had been frequently given to the Paschal time, with which it was identical. The name of this goddess was given to the same month by the old Germans and by the Franks, so that she must have been one of the most highly honoured of the Teutonic deities, and her festival must have been a very important one and deeply implanted in the popular feelings, or the Church would not have sought to identify it with one of the greatest Christian festivals of the year. It is understood that the Romans considered this month as dedicated to Venus, no doubt because it was that in which the productive powers of nature began to be visibly developed. When the Pagan festival was adopted by the Church, it became a moveable feast, instead of being fixed to the month of April. Among other objects offered to the goddess at this time were cakes, made no doubt of fine flour, but of their form we are ignorant. The Christians when they seized upon the Easter festival, gave them the form of a bun, which indeed was at that time the ordinary form of bread; and to protect themselves and those who ate them from any enchantment—or other evil influences which might arise from their former heathen character—they marked them with the Christian symbol—the cross. Hence we derived the cakes we still eat at Easter under the name of hot cross-buns, and the superstitious feelings attached to them; for multitudes of people still believe that if they failed to eat a hot cross-bun on Good Friday, they would be unlucky all the rest of the year.”

ARCHITECTURAL PILLARS DEVISED FROM THE LOTUS

The earliest capital seems to have been the bell or seed vessel, simply copied without alteration, except a little expansion at the bottom to give it stability. The leaves of some other plant were then added to it, and varied in different capitals according to the different meanings intended to be signified by the accessory symbols. The Greeks decorated it in the same manner, with the foliage of various plants, sometimes of the acanthus and sometimes of the aquatic kind, which are, however, generally so transformed by excessive attention to elegance, that it is difficult to distinguish them. The most usual seems to be the Egyptian acacia, which was probably adopted as a mystic symbol for the same reasons as the olive, it being equally remarkable for its powers of reproduction. Theophrastus mentions a large wood of it in the “Thebaid,” where the olive will not grow, so that we reasonably suppose it to have been employed by the Egyptians in the same symbolical sense. From them the Greeks seem to have borrowed it about the time of the Macedonian conquest, it not occurring in any of their buildings of a much earlier date; and as for the story of the Corinthian architect, who is said to have invented this kind of capital from observing a thorn growing round a basket, it deserved no credit, being fully contradicted by the buildings still remaining in Upper Egypt.

The Doric column, which appears to have been the only one known to the very ancient Greeks, was equally derived from the Nelumbo; its capital being the same seed-vessel pressed flat, as it appears when withered and dry—the only state probably in which it had been seen in Europe. The flutes in the shaft were made to hold spears and staves, whence a spear-holder is spoken of in the “Odyssey” as part of a column. The triglyphs and blocks of the cornice were also derived from utility, they having been intended to represent the projecting ends of the beams and rafters which formed the roof.

The Ionic capital has no bell, but volutes formed in imitation of sea-shells, which have the same symbolical meaning. To them is frequently added the ornament which architects call a honeysuckle, but which seems to be meant for the young petals of the same flower viewed horizontally, before they are opened or expanded. Another ornament is also introduced in this capital, which they call eggs and anchors, but which is, in fact, composed of eggs and spear-heads, the symbols of female generation and male destructive power, or in the language of mythology, of Venus and Mars.—_Payne Knight._

BELLS IN RELIGIOUS WORSHIP

Stripped, however, of all this splendour and magnificence it was probably nothing more than a symbolical instrument, signifying originally the motion of the elements, like the sistrum of Isis, the cymbals of Cybele, the bells of Bacchus, etc., whence Jupiter is said to have overcome the Titans with his ægis, as Isis drove away Typhon with her sistrum, and the ringing of the bells and clatter of metals were almost universally employed as a means of consecration, and a charm against the destroying and inert powers. Even the Jews welcomed the new moon with such noises, which the simplicity of the early ages employed almost everywhere to relieve her during eclipses, supposed then to be morbid affections brought on by the influence of an adverse power. The title _Priapus_, by which the generative attribute is distinguished, seems to be merely a corruption of _Briapuos_ (clamorous); the _beta_ and _pi_ being commutable letters, and epithets of similar meaning, being continually applied both to Jupiter and Bacchus by the poets. Many Priapic figures, too, still extant, have bells attached to them, as the symbolical statues and temples of the Hindus are; and to wear them was a part of the worship of Bacchus among the Greeks: whence we sometimes find them of extremely small size, evidently meant to be worn as amulets with the phalli, lunulæ, etc. The chief priests of the Egyptians and also the high priests of the Jews, hung them as sacred emblems to their sacerdotal garments; and the Brahmins still continue to ring a small bell at the interval of their prayers, ablutions, and other acts of devotion; which custom is still preserved in the Roman Catholic Church at the elevation of the host. The Lacedæmonians beat upon a brass vessel or pan, on the death of their kings, and we still retain the custom of tolling a bell on such occasions, though the reason of it is not generally known, any more than that of other remnants of ancient ceremonies still existing.[1] It will be observed that the bells used by the Christians very probably came direct from the Buddhists. And from the same source are derived the beads and rosaries of the Roman Catholics, which have been used by the Buddhist monks for over 2,000 years. Tinkling bells were suspended before the shrine of Jupiter Ammon, and during the service the gods were invited to descend upon the altars by the ringing of bells; they were likewise sacred to Siva. Bells were used at the worship of Bacchus, and were worn on the garments of the Bacchantes, much in the same manner as they are used at our carnivals and masquerades.

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Footnote 1:

The above description is from Payne Knight’s “Symbolical Language of ancient Art and Mythology.”

HINDU PHALLICISM

The following curious fable is given by Sir William Jones, as one of the stories of the Hindus for the origin of Phallic devotion:—“Certain devotees in a remote time had acquired great renown and respect, but the purity of the art was wanting, nor did their motives and secret thoughts correspond with their professions and exterior conduct. They affected poverty, but were attached to the things of this world, and the princes and nobles were constantly sending their offerings. They seemed to sequester themselves from this world; they lived retired from the towns; but their dwellings were commodious, and their women numerous and handsome. But nothing can be hid from their gods, and Sheevah resolved to put them to shame. He desired Prakeety (nature) to accompany him; and assumed the appearance of a Pandaram of a graceful form. Prakeety was herself a damsel of matchless worth. She went before the devotees who were assembled with their disciples, awaiting the rising of the sun, to perform their ablutions and religious ceremonies. As she advanced the refreshing breeze moved her flowing robe, showed the exquisite shape which it seemed intended to conceal. With eyes cast down, though sometimes opening with a timid but tender look, she approached them, and with a low enchanting voice desired to be admitted to the sacrifice. The devotees gazed on her with astonishment. The sun appeared, but the purifications were forgotten; the things of the Poojah (worship) lay neglected; nor was any worship thought of but that of her. Quitting the gravity of their manners, they gathered round her as flies round the lamp at night—attracted by its splendour, but consumed by its flame. They asked from whence she came; whither she was going. ‘Be not offended with us for approaching thee, forgive us our importunities. But thou art incapable of anger, thou who art made to convey bliss; to thee, who mayest kill by indifference, indignation and resentment are unknown. But whoever thou mayest be, whatever motive or accident might have brought thee amongst us, admit us into the number of thy slaves; let us at least have the comfort to behold thee.’ Here the words faltered on the lip, and the soul seemed ready to take its flight; the vow was forgotten, and the policy of years destroyed.

“Whilst the devotees were lost in their passions, and absent from their homes, Sheevah entered their village with a musical instrument in his hand, playing and singing like some of those who solicit charity. At the sound of his voice, the women immediately quitted their occupation; they ran to see from whom it came. He was as beautiful as Krishen on the plains of Matra. Some dropped their jewels without turning to look for them; others let fall their garments without perceiving that they discovered those abodes of pleasure which jealousy as well as decency had ordered to be concealed. All pressed forward with their offerings, all wished to speak, all wished to be taken notice of, and bringing flowers and scattering them before him, said—‘Askest thou alms! thou who are made to govern hearts. Thou whose countenance is as fresh as the morning, whose voice is the voice of pleasure, and they breath like that of Vassant (Spring) in the opening of the rose! Stay with us and we will serve thee; nor will we trouble thy repose, but only be zealous how to please thee.’ The Pandaram continued to play, and sung the loves of Kama (God of Love), of Krishen and the Gopia, and smiling the gentle smiles of fond desire....

“But the desire of repose succeeds the waste of pleasure. Sleep closed the eyes and lulled the senses. In the morning the Pandaram was gone. When they awoke they looked round with astonishment, and again cast their eyes on the ground. Some directed to those who had formerly been remarked for their scrupulous manners, but their faces were covered with their veils. After sitting awhile in silence they arose and went back to their houses, with slow and troubled steps. The devotees returned about the same time from their wanderings after Prakeety. The days that followed were days of embarrassment and shame. If the women had failed in their modesty, the devotees had broken their vows. They were vexed at their weakness, they were sorry for what they had done; yet the tender sigh sometimes broke forth, and the eyes often turned to where the men first saw the maid—the women, the Pandaram.

“But the women began to perceive that what the devotees foretold came not to pass. Their disciples, in consequence, neglected to attend them, and the offerings from the princes and nobles became less frequent than before. They then performed various penances; they sought for secret places among the woods unfrequented by man; and having at last shut their eyes from the things of this world, retired within themselves in deep meditation, that Sheevah was the author of their misfortunes. Their understanding being imperfect, instead of bowing the head with humility, they were inflamed with anger; instead of contrition for their hypocrisy, they sought for vengeance. They performed new sacrifices and incantations, which were only allowed to have effect in the end, to show the extreme folly of man in not submitting to the will of heaven.

“Their incantations produced a tiger, whose mouth was like a cavern and his voice like thunder among the mountains. They sent him against Sheevah, who with Prakeety was amusing himself in the vale. He smiled at their weakness, and killing the tiger at one blow with his club, he covered himself with his skin. Seeing themselves frustrated in this attempt, the devotees had recourse to another, and sent serpents against him of the most deadly kind; but on approaching him they became harmless, and he twisted them round his neck. They then sent their curses and imprecations against him, but they all recoiled upon themselves. Not yet disheartened by all these disappointments, they collected all their prayers, their penances, their charities, and other good works, the most acceptable sacrifices; and demanding in return only vengeance against Sheevah, they sent a fire to destroy his genital parts. Sheevah, incensed at this attempt, turned the fire with indignation against the human race; and mankind would soon have been destroyed, had not Vishnu, alarmed at the danger, implored him to suspend his wrath. At his entreaties Sheevah relented; but it was ordained that in his temples those parts should be _worshipped_, which the false doctrines had impiously attempted to destroy.”

THE CROSS AND ROSARY

The key which is still worn with the Priapic hand, as an amulet, by the women of Italy appears to have been an emblem of the equivocal use of the name, as the language of that country implies. Of the same kind, too, appears to have been the cross in the form of the letter _tau_, attached to a circle, which many of the figures of Egyptian deities, both male and female, carry in their left hand; and by the Syrians, Phœnicians and other inhabitants of Asia, representing the planet Venus, worshipped by them as the emblem or image of that goddess. The cross in this form is sometimes observable on coins, and several of them were found in a temple of Serapis, demolished at the general destruction of those edifices by the Emperor Theodosius, and were said by the Christian antiquaries of that time to signify the future life. In solemn sacrifices, all the Lapland idols were marked with it from the blood of the victims; and it occurs on many Runic ornaments found in Sweden and Denmark, which are of an age long anterior to the approach of Christianity to those countries, and probably to its appearance in the world. On some of the early coins of the Phœnicians, we find it attached to a chaplet of beads placed in a circle, so as to form a complete rosary, such as the Lamas of Thibet and China, the Hindus, and the Roman Catholics now tell over while they pray.

BEADS

Beads were anciently used to reckon time, and a circle, being a line without termination, was the natural emblem of its perpetual continuity; whence we often find circles of beads upon the heads of deities, and enclosing the sacred symbols upon coins and other monuments. Perforated beads are also frequently found in tombs, both in the northern and southern parts of Europe and Asia, whence are fragments of the chaplets of consecration buried with the deceased. The simple diadem, or fillet, worn round the head as a mark of sovereignty, had a similar meaning, and was originally confined to the statues of deities and deified personages, as we find it upon the most ancient coins. Chryses, the priest of Apollo, in the “Iliad,” brings the diadem, or sacred fillet, of the god upon his sceptre, as the most imposing and invocable emblem of sanctity; but no mention is made of its being worn by kings in either of the Homeric poems, nor of any other ensign of temporal power and command, except the royal staff or sceptre.

THE LOTUS

The double sex typified by the Argha and its contents is by the Hindus represented by the “Mymphœa” or Lotus, floating like a boat on the boundless ocean, where the whole plant signifies both the earth and the two principles of its fecundation. The germ is both Meru and the Linga; the petals and filaments are the mountains which encircle Meru, and are also a type of the Yoni; the leaves of the calyx are the four vast regions to the cardinal points of Meru; and the leaves of the plant are the Dwipas or isles round the land of Jambu. As this plant or lily was probably the most celebrated of all the vegetable creation among the mystics of the ancient world, and is to be found in thousands of the most beautiful and sacred paintings of the Christians of this day—I detain my reader with a few observations respecting it. This is the more necessary as it appears that the priests have now lost the meaning of it; at least this is the case with everyone of whom I have made enquiry; but it is like many other very odd things, probably understood in the Vatican, or the crypt of St. Peter’s. Maurice says that among the different plants which ornament our globe, there is not one which has received so much honour from man as the Lotus or Lily, in whose consecrated bosom Brahma was born, and Osiris delighted to float. This is the sublime, the hallowed symbol that eternally occurs in oriental mythology, and in truth not without reason, for it is itself a lovely prodigy. Throughout all the northern hemispheres it was everywhere held in profound veneration, and from Savary we learn that the veneration is yet continued among the modern Egyptians. And we find that it still continues to receive the respect if not the adoration of a great part of the Christian world, unconscious, perhaps, of the original reason of this conduct. _Higgins’s Anacalypsis._