The Golden Bough: A Study in Magic and Religion (Third Edition, Vol. 09 of 12)

Tamanawas or tamanous is a Chinook term signifying “guardian spirits.” See Totemism and Exogamy, iii. 405 sqq.

855

James G. Swan, The Indians of Cape Flattery, p. 66, quoted by Franz Boas, op. cit. pp. 637 sq.

856

J. Adrian Jacobsen, “Geheimbünde der Küstenbewohner Nordwest-America's,” Verhandlungen der Berliner Gesellschaft für Anthropologie, Ethnologie und Urgeschichte (1891), pp. 384 sq. The passage has been already quoted by me in Totemism and Exogamy, iii. 500-502.

857

As to the belief of these Esquimaux that at the Festival of the Dead the spirits of the departed enter into and animate their human namesakes, see Taboo and the Perils of the Soul, p. 371.

858

E. W. Nelson, “The Eskimo about Bering Strait,” Eighteenth Annual Report of the Bureau of American Ethnology, Part i. (Washington, 1899) pp. 394 sq.

859

K. Th. Preuss, Die Nayarit Expedition, I. Die Religion der Cora Indianer (Leipsic, 1912), pp. xcii. sqq., xcv. sqq.

860

Th. Koch-Grünberg, Zwei Jahre unter den Indianern (Berlin, 1909-1910), i. 130-140, ii. 169-201. The passage translated in the text occurs in vol. ii. p. 196.

861

F. Vormann, “Tänze und Tanzfestlichkeiten der Monumbo-Papua (Deutsch-Neuguinea),” Anthropos, vi. (1911) pp. 415 sq., 418 sqq., 426 sq.

862

A. W. Nieuwenhuis, Quer durch Borneo (Leyden, 1904-1907), i. 324. As to these masquerades of the Kayans see Spirits of the Corn and of the Wild, i. 95 sq., 186 sq.

863

Rev. J. Perham, “Mengap, the Song of the Dyak Sea Feast,” Journal of the Straits Branch of the Royal Asiatic Society, No. 2 (Singapore, December, 1878), pp. 123 sq., 134; H. Ling Roth, The Natives of Sarawak and British North Borneo (London, 1896), ii. 174 sq., 183. Compare E. H. Gomes, Seventeen Years among the Sea Dyaks of Borneo (London, 1911), pp. 213 sq.: “This song of the head feast takes the form of a story setting forth how the mythical hero Klieng held a head feast on his return from the warpath, and invited the god of war, Singalang Burong, to attend it. It describes at great length all that happened on that occasion. The singing of this song takes up the whole night. It begins before 8 p. m., and lasts till next morning. Except for a short interval for rest in the middle of the night, the performers are marching and singing all the time.” On the third day of the festival the people go out on the open-air platform in front of the house and sacrifice a pig. “The people shout together (manjong) at short intervals until a hawk is seen flying in the heavens. That hawk is Singalang Burong, who has taken that form to manifest himself to them. He has accepted their offerings and has heard their cry” (E. H. Gomes, op. cit. p. 214).

864

A. E. Haigh, The Attic Theatre (Oxford, 1889), pp. 4 sqq, The religious origin of Greek tragedy is maintained by Professor W. Ridgeway (The Origin of Tragedy, Cambridge, 1910), but he finds its immediate inspiration in the worship of the dead rather than in the worship of Dionysus.

865

H. Oldenberg, Die Literatur des alten Indien (Stuttgart and Berlin, 1903), pp. 236 sqq. Professor Oldenberg holds that the evolution of the Indian drama was probably not influenced by that of Greece.

866

Adonis, Attis, Osiris, Second Edition, pp. 239 sq.

867

The Magic Art and the Evolution of Kings, ii. 97 sqq.

868

C. P. Tiele, Babylonisch-Assyrische Geschichte (Gotha, 1886-1888), pp. 351 sqq.; M. Jastrow, Religion of Babylonia and Assyria (Boston, U.S.A., 1898), p. 43; Sir G. Maspero, Histoire Ancienne des Peuples de l'Orient Classique, iii. Les Empires (Paris, 1899), pp. 378 sqq.; C. F. Harper, Assyrian and Babylonian Literature (New York, 1901), pp. 94 sqq.

869

Athenaeus, xii. 38 sq., pp. 528 f-530 c; Diodorus Siculus, ii. 23 and 27; Justin, i. 3. Several different versions of the king's epitaph have come down to us. I have followed the version of Choerilus, the original of which is said to have been carved in Chaldean letters on a tombstone that surmounted a great barrow at Nineveh. This barrow may, as I suggest in the text, have been one of the so-called mounds of Semiramis.

870

Ammianus Marcellinus, xiv. 8; Dio Chrysostom, Or. xxxiii. p. 408 (vol. ii. p. 16 ed. L. Dindorf, Leipsic, 1857). Coins of Tarsus exhibit the effigy on the pyre, which seems to be composed of a pyramid of great beams resting on a cubical base. See K. O. Müller, “Sandon und Sardanapal,” Kunstarchäologische Werke (Berlin, 1873), iii. 8 sqq., whose valuable essay I follow. For fuller details see Adonis, Attis, Osiris, Second Edition, pp. 91 sqq., 139 sqq.

871

Agathias, Hist. ii. 24.

872

Joannes Lydus, De magistratibus, iii. 64; Apollodorus, Bibliotheca, ii. 6. 2 sq.; Lucian, Dial. deorum, xiii. 2.

873

K. O. Müller, “Sandon und Sardanapal,” Kunstarchäologische Werke (Berlin, 1873), iii. 16 sq. The writer adds that there is authority for every stroke in the picture. His principal source is the sixty-second speech of Dio Chrysostom (vol. ii. p. 202 ed. L. Dindorf), where the unmanly Sardanapalus, seated cross-legged on a gilded couch with purple hangings, is compared to “the Adonis for whom the women wail.”

874

Herodotus, i. 7.

875

Herodotus, i. 86 sq., with J. C. F. Bähr's note. According to another and perhaps more probable tradition the king sought a voluntary death in the flames. See Bacchylides, iii. 24-62; Adonis, Attis, Osiris, Second Edition, pp. 141 sqq.

876

The Dying God, pp. 41 sq.

877

Sophocles, Trachiniae, 1195 sqq.:

πολλὴν μὲν ὕλην τῆς βαθυρρίζου δρυὸς κείραντα πολλὸν δ᾽ ἄρσεν ἐκτεμόνθ᾽ ὁμοῦ ἄγριον ἔλαιον, σῶμα τουμὸν ἐμβαλεῖν.

The passage was pointed out to me by my friend the late Dr. A. W. Verrall. The poet's language suggests that of old a sacred fire was kindled by the friction of oak and wild olive wood, and that in accordance with a notion common among rude peoples, one of the pieces of wood (in this case the wild olive) was regarded as male and the other (the oak) as female. On this hypothesis, the fire was kindled by drilling a hole in a piece of oak with a stick of wild olive. As to the different sorts of wood used by the ancients in making fire by friction, see A. Kuhn, Die Herabkunft des Feuers und des Göttertranks2 (Gütersloh, 1886), pp. 35 sqq.; The Magic Art and the Evolution of Kings, ii. 249 sqq. In South Africa a special fire is procured for sacrifices by the friction of two pieces of the Uzwati tree, which are known respectively as husband and wife. See Spirits of the Corn and of the Wild, ii. 65.

878