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of Cadmus is empty, and dark Hades enriched with groans and lamentations.'
Mother of the deadliest ‘Calas' of Singhalese demonolatry, sister of the Scandinavian Hel in name and nature, is Kali. Although the Hindu writers repudiate the idea that there is any devil among their three hundred and thirty millions of deities, it is difficult to deny Kali that distinction. Her wild dance of delight over bodies of the slain would indicate pleasure taken in destruction for its own sake, so fulfilling the definition of a devil ; but, on the other hand, there is a Deccan legend that reports her as devouring the dead, and this would make her a hungerdemon. We may give her the benefit of the doubt, and class her among the demons-or beings whose evil is not gratuitous—all the more because the mysteriously protruding tongue, as in the figure of Typhon (p. 185), probably suggests thirst. Hindu legend does, indeed, give another interpretation, and say that when she was dancing for joy at having slain a hundred-headed giant demigod, the shaking of the earth was so formidable that Siva threw himself among the slain, whom she was crushing at every step, hoping to induce her to pause; but when, unheeding, she trod upon the body of her husband, she paused and thrust out her tongue from surprise and shame. The Vedic description of Agni as an ugra (ogre), with 'tongue of flame,' may better interpret Kali's tongue. It is said Kali is pleased for a hundred years by the blood of a tiger ; for a thousand by that of a man; for a hundred thousand by the blood of three men.
How are we to understand this dance of Death, and the further legend of her tossing dead bodies into the air for amusement ? Such a figure found among a people who shudder at taking life even from the lowest animals is
alike represent slaughter by human violence. May it not be that Kali represents some period when the abhorrence of taking life among a vegetarian people-a people, too, believing in transmigration-might have become a public danger ? When Krishna appeared it was, according to the Bhagavat Gita, as charioteer inciting Arjoon to war. There must have been various periods when a peaceful people must fall victims to more savage neighbours unless they could be stimulated to enter on the work of destruction with a light heart. There may have been periods when the human Kalis of India might stimulate their husbands and sons to war with such songs as the women of Dardistan sing at the Feast of Fire (p. 91). The amour of the Greek goddess of Beauty with the god of War, leaving her lawful spouse the Smith, is full of meaning. The Assyrian Venus, Istar, appeared in a vision, with wings and halo, bearing a bow and arrow for Assurbanipal. The Thug appears to have taken some such view of Kali, regarding her as patroness of their plan for reducing population. They are said to have claimed that Kali left them one of her teeth for a pickaxe, her rib for a knife, her garment's hem for a noose, and wholesale murder for a religion. The uplifted right hand of the demoness has been interpreted as intimating a divine purpose in the havoc around her, and it is possible that some such euphemism attached to the attitude before the Thug accepted it as his own benediction from this highly decorated personage of human cruelty.
The ancient reverence for Kali has gradually passed to her mitigated form-Durga. Around her too are visible the symbols of destruction; but she is supposed to be satisfied with pumpkin-animals, and the weapons in her ten hands are believed to be directed against the enemies of the gods, especially against the giant king Muheshu. She is mother of the beautiful boy Kartik, and of the
elephant-headed inspirer of knowledge Ganesa. She is reverenced now as female energy, the bestower of beauty and fruitfulness on women.
The identity of war-gods and death-demons, in the most frightful conceptions which have haunted the human imagination, is of profound significance. These forms do not represent peaceful and natural death, not death by old age,—of which, alas, those who cowered before them knew but little,-but death amid cruelty and agony, and the cutting down of men in the vigour of life. That indeed was terrible,-even more than these rude images could describe.
But there are other details in these hideous forms. The priest has added to the horse and sword of war the adored serpent, and hideous symbols of the ' Land of the Dead.' For it is not by terror of death, but of what he can persuade men lies beyond, that the priest has reigned over mankind. When Isabel (in ‘Measure for Measure') is trying to persuade her brother that the sense of death lies most in apprehension, the sentenced youth still finds death ' a fearful thing.'
Ay, but to die, and go we know not where ;
To what we fear of death.
SATAN AS DEATH.
of annihilation. What if he had seen death as an eternal sleep? Let Hamlet answer :
To die,—to sleep ;-
The greater part of the human race still belong to religions which, in their origin, promised eternal repose as the supreme final bliss. Had death in itself possessed horrors for the human mind, the priest need not have conjured up beyond it those tortures that haunted Hamlet with the dreams of possible evils beyond which make even the wretched rather bear the ills they have than fly to others they know not of. It would have been sufficient sanction to promise immortality only to the pious. But as in Claudio's shuddering lines every hell is reflected—whether of ice, fire, or brutalisation-so are the same mixed with the very blood and brain of mankind, even where literally outgrown. Christianity superadded to the horrors by importing the idea that death came by human sin, and so by gradual development ascribing to Satan the power of death; thereby forming a new devil who bore in him the power to make death a punishment. How the matter stood in the mediæval belief may be seen in figure 19, copied from a Russian Bible of the early) seventeenth century. Lazarus smiles to see the nondescript soul of Dives torn from him by a devil with a hook, while another drowns the groans with a drum. Satan squirts an infernal baptism on the departing soul, and the earnest co-operation of the archangel justifies the satisfaction of Lazarus and Abraham. This degraded belief is still found in the almost gleeful pulpit-picturings of physical agonies as especially attending the death-beds of ‘infidels,' — as Voltaire and