Ancient Art and Ritual | Page 3

in the case of drama, so swiftly and completely transmuted into art that, had we had Greek material only to hand, we might never have marked the transition. Happily, however, we are not confined within the Greek paradise. Wider fields are open to us; our subject is not only Greek, but ancient art and ritual. We can turn at once to the Egyptians, a people slower-witted than the Greeks, and watch their sluggish but more instructive operations. To one who is studying the development of the human mind the average or even stupid child is often more illuminating than the abnormally brilliant. Greece is often too near to us, too advanced, too modern, to be for comparative purposes instructive.
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Of all Egyptian, perhaps of all ancient deities, no god has lived so long or had so wide and deep an influence as Osiris. He stands as the prototype of the great class of resurrection-gods who die that they may live again. His sufferings, his death, and his resurrection were enacted year by year in a great mystery-play at Abydos. In that mystery-play was set forth, first, what the Greeks call his agon, his contest with his enemy Set; then his pathos, his suffering, or downfall and defeat, his wounding, his death, and his burial; finally, his resurrection and "recognition," his anagnorisis either as himself or as his only begotten son Horus. Now the meaning of this thrice-told tale we shall consider later: for the moment we are concerned only with the fact that it is set forth both in art and ritual.
At the festival of Osiris small images of the god were made of sand and vegetable earth, his cheek bones were painted green and his face yellow. The images were cast in a mould of pure gold, representing the god as a mummy. After sunset on the 24th day of the month Choiak, the effigy of Osiris was laid in a grave and the image of the previous year was removed. The intent of all this was made transparently clear by other rites. At the beginning of the festival there was a ceremony of ploughing and sowing. One end of the field was sown with barley, the other with spelt; another part with flax. While this was going on the chief priest recited the ritual of the "sowing of the fields." Into the "garden" of the god, which seems to have been a large pot, were put sand and barley, then fresh living water from the inundation of the Nile was poured out of a golden vase over the "garden" and the barley was allowed to grow up. It was the symbol of the resurrection of the god after his burial, "for the growth of the garden is the growth of the divine substance."
The death and resurrection of the gods, and pari passu of the life and fruits of the earth, was thus set forth in ritual, but--and this is our immediate point--it was also set forth in definite, unmistakable art. In the great temple of Isis at Phil? there is a chamber dedicated to Osiris. Here is represented the dead Osiris. Out of his body spring ears of corn, and a priest waters the growing stalk from a pitcher. The inscription to the picture reads: _This is the form of him whom one may not name, Osiris of the mysteries, who springs from the returning waters._ It is but another presentation of the ritual of the month Choiak, in which effigies of the god made of earth and corn were buried. When these effigies were taken up it would be found that the corn had sprouted actually from the body of the god, and this sprouting of the grain would, as Dr. Frazer says, be "hailed as an omen, or rather as the cause of the growth of the crops."[1]
Even more vividly is the resurrection set forth in the bas-reliefs that accompany the great Osiris inscription at Denderah. Here the god is represented at first as a mummy swathed and lying flat on his bier. Bit by bit he is seen raising himself up in a series of gymnastically impossible positions, till at last he rises from a bowl--perhaps his "garden"--all but erect, between the outspread wings of Isis, while before him a male figure holds the crux ansata, the "cross with a handle," the Egyptian symbol of life. In ritual, the thing desired, _i.e._ the resurrection, is acted, in art it is represented.
No one will refuse to these bas-reliefs the title of art. In Egypt, then, we have clearly an instance--only one out of many--where art and ritual go hand in hand. Countless bas-reliefs that decorate Egyptian tombs and temples are but ritual practices translated into stone. This, as we shall later see, is