the Australians have what the Greeks would have called the ~skytale~,
a staff on which inscriptions, legible to the Aborigines, are
engraven. I believe, however, that the Australian ~skytale~ is not
usually marked with picture-writing but with notches--even more
difficult to decipher. As an example of Red Indian picture-writing we
publish a scroll from Kohl's book on the natives of North America.
This rude work of art, though the reader may think little of it, is
really a document as important in its way as the Chaldaean clay tablets
inscribed with the record of the Deluge. The coarsely-drawn figures
recall, to the artist's mind, much of the myth of Manabozho, the
Prometheus and the Deucalion, the Cain and the Noah of the dwellers by
the great lake. Manabozho was a great chief, who had two wives that
quarrelled. The two stumpy half-figures (4) represent the wives; the
mound between them is the displeasure of Manabozho. Further on (5) you
see him caught up between two trees--an unpleasant fix, from which the
wolves and squirrels refused to extricate him. The kind of pyramid
with a figure at top (8) is a mountain, on which, when the flood came,
Manabozho placed his grandmother to be out of the water's way. The
somewhat similar object is Manabozho himself, on the top of his
mountain. The animals you next behold (10) were sent out by Manabozho
to ascertain how the deluge was faring, and to carry messages to his
grandmother. This scroll was drawn, probably on birch bark, by a Red
Man of literary attainments, who gave it to Kohl (in its lower
right-hand corner (11) he has pictured the event), that he might never
forget the story of the Manabozhian deluge. The Red Indians have
always, as far as European knowledge goes, been in the habit of using
this picture-writing for the purpose of retaining their legends,
poems, and incantations. It is unnecessary to say that the
picture-writing of Mexico and the hieroglyphics of ancient Egypt are
derived from the same savage processes. I must observe that the hasty
indications of the figure used in picture-writing are by no means to
be regarded as measures of the Red Men's skill in art. They can draw
much better than the artist who recorded the Manabozhian legend, when
they please.
[Illustration: Fig. 8.--Red Indian Picture-writing: the Legend of
Manabozho.]
In addition to picture-writing, Religion has fostered savage
representative art. If a man worships a lizard or a bear, he finds it
convenient to have an amulet or idol representing a bear or a lizard.
If one adores a lizard or a bear, one is likely to think that prayer
and acts of worship addressed to an image of the animal will please
the animal himself, and make him propitious. Thus the art of making
little portable figures of various worshipful beings is fostered, and
the craft of working in wood or ivory is born. As a rule, the savage
is satisfied with excessively rude representations of his gods.
Objects of this kind--rude hewn blocks of stone and wood--were the
most sacred effigies of the gods in Greece, and were kept in the
dimmest recesses of the temple. No Demeter wrought by the craft of
Phidias would have appeared so holy to the Phigalians as the strange
old figure of the goddess with the head of a mare. The earliest Greek
sacred sculptures that remain are scarcely, if at all, more advanced
in art than the idols of the naked Admiralty Islanders. But this is
anticipating; in the meantime it may be said that among the sources of
savage representative art are the need of something like writing, and
ideas suggested by nascent religion.
[Illustration: Fig. 9.--Bushman Wall-painting.]
The singular war-picture (Fig. 9) from a cave in South Africa, which
we copy from the _Cape Monthly Magazine_, probably represents a
magical ceremony. Bushmen are tempting a great water animal--a
rhinoceros, or something of that sort--to run across the land, for the
purpose of producing rain. The connection of ideas is scarcely
apparent to civilised minds, but it is not more indistinct than the
connection between carrying a bit of the rope with which a man has
been hanged and success at cards--a common French superstition. The
Bushman cave-pictures, like those of Australia, are painted in black,
red, and white. Savages, like the Assyrians and the early Greeks, and
like children, draw animals much better than the human figure. The
Bushman dog in our little engraving (Fig. 7) is all alive--almost as
full of life as the dog which accompanies the centaur Chiron, in that
beautiful vase in the British Museum which represents the fostering of
Achilles. The Bushman wall-paintings, like those of Australia, seem
to prove that savage art is capable of considerable freedom, when
supplied with fitting materials. Men seem to draw better when they
have pigments and a flat surface of rock to work upon, than when they
are scratching on hard wood with a sharp edge of a broken shell.
Though the thing has little to do with art, it may be worth
mentioning, as a matter of curiosity, that the labyrinthine Australian
caves are decorated, here and there, with the mark of a red hand. The
same mysterious, or at least unexplained, red hand is impressed on the
walls of the ruined palaces and temples of Yucatan--the work of a
vanished people.
[Illustration: Fig. 10.--Palaeolithic Art.]
[Illustration: Fig. 11.--Red Indian Art: the Thunder-bird.]
There is one singular fact in the history of savage art which reminds
us that savages, like civilised men, have various degrees of culture
and various artistic capacities. The oldest inhabitants of Europe who
have left any traces of their lives and handiwork must have been
savages. Their tools and weapons were not even formed of polished
stone, but of rough-hewn flint. The people who used tools of this sort
must necessarily have enjoyed but a scanty mechanical equipment, and
the life they lived in caves from which they had to drive the
cave-bear, and among snows where they stalked the reindeer and the
mammoth, must have been very rough. These earliest known Europeans,
'palaeolithic men,' as they are called, from their use of the ancient
unpolished stone weapons, appear to have inhabited the countries now
known as France and England, before the great Age of Ice. This makes
their date one of incalculable antiquity; they are removed from us by
a 'dark backward and abysm of time.' The whole Age of Ice, the
dateless period of the polishers of stone weapons, the arrival of men
using weapons of bronze, the time which sufficed to change the climate
and fauna and flora of Western Europe, lie between us and palaeolithic
man. Yet in him we must recognise a skill more akin to the spirit of
modern art than is found in any other savage race. Palaeolithic man,
like other savages, decorated his weapons; but, as I have already
said, he did not usually decorate them in the common savage manner
with ornamental patterns. He scratched on bits of bone spirited
representations of all the animals whose remains are found mixed with
his own. He designed the large-headed horse of that period, and
science inclines to believe that he drew the breed correctly. His
sketches of the mammoth, the reindeer, the bear, and of many fishes,
may be seen in the British Museum, or engraved in such works as
Professor Boyd Dawkins's _Early Man in Britain_. The object from which
our next illustration (Fig. 12) was engraved represents a deer, and
was a knife-handle. Eyes at all trained in art can readily observe the
wonderful spirit and freedom of these ancient sketches. They are the
rapid characteristic work of true artists who know instinctively what
to select and what to sacrifice.
[Illustration: Fig. 12.--Palaeolithic Art: a Knife-handle.]
[Illustration: Fig. 13.--Eskimo Drawing: a Reindeer Hunt.]
Some learned men, Mr. Boyd Dawkins among them, believe that the
Eskimo, that stunted hunting and fishing race of the Western Arctic
circle, are descendants of the palaeolithic sketchers, and retain their
artistic qualities. Other inquirers, with Mr. Geikie and Dr. Wilson,
do not believe in this pedigree of the Eskimo. I speak not with
authority, but the submission of ignorance, and as one who has no
right to an opinion about these deep matters of geology and ethnology.
But to me, Mr. Geikie's arguments appear distinctly the more
convincing, and I cannot think it demonstrated that the Eskimo are
descended from our old palaeolithic artists. But if Mr. Boyd Dawkins is
right, if the Eskimo derive their lineage from the artists of the
Dordogne, then the Eskimo are sadly degenerated. In Mr. Dawkins's
_Early Man_ is an Eskimo drawing of a reindeer hunt, and a palaeolithic
sketch of a reindeer; these (by permission of the author and Messrs.
Macmillan) we reproduce. Look at the vigour and life of the ancient
drawing--the feathering hair on the deer's breast, his head, his
horns, the very grasses at his feet, are touched with the graver of a
true artist (Fig. 14). The design is like a hasty memorandum of
Leech's. Then compare the stiff formality of the modern Eskimo drawing
(Fig. 13). It is rather like a record, a piece of picture-writing,
than a free sketch, a rapid representation of what is most
characteristic in nature. Clearly, if the Eskimo come from palaeolithic
man, they are a degenerate race as far as art is concerned. Yet, as
may be seen in Dr. Rink's books, the Eskimo show considerable skill
when they have become acquainted with European methods and models, and
they have at any rate a greater natural gift for design than the Red
Indians, of whose sacred art the Thunder-bird brooding over page 298
is a fair example. The Red Men believe in big birds which produce
thunder. Quahteaht, the Adam of Vancouver's Island, married one, and
this (Fig. 11) is she.
[Illustration: Fig. 14.--Palaeolithic Sketch: a Reindeer.]
We have tried to show how savage decorative art supplied the first
ideas of patterns which were developed in various ways by the
decorative art of advancing civilisation. The same progress might be
detected in representative art. Books, like the guide-book to ancient
Greece which Pausanias wrote before the glory had quite departed,
prove that the Greek temples were museums in which the development of
art might be clearly traced. Furthest back in the series of images of
gods came things like that large stone which was given to Cronus when
he wished to swallow his infant child Zeus, and which he afterwards
vomited up with his living progeny. This fetich-stone was preserved at
Delphi. Next came wild bulks of beast-headed gods, like the
horse-headed Demeter of Phigalia, and it seems possible enough that
there was an Artemis with the head of a she-bear. Gradually the
bestial characteristics dropped, and there appeared such rude
anthropomorphic images of Apollo--more like South Sea idols than the
archer prince--as are now preserved in Athens. Next we have the stage
of semi-savage realism, which is represented by the metopes of Selinus
in Sicily, now in the British Museum, and by not a few gems and pieces
of gold work. Greek temples have fallen, and the statues of the gods
exist only in scattered fragments. But in the representative
collection of casts belonging to the Cambridge Archaeological Museum,
one may trace the career of Greek art backwards from Phidias to the
rude idol.
[Illustration: Fig. 15.--Archaic Greek Gems.]
'Savage realism' is the result of a desire to represent an object as
it is known to be, and not as it appears. Thus Catlin, among the Red
Indians, found that the people refused to be drawn in profile. They
knew they had two eyes, and in profile they seemed only to have one.
Look at the Selinus marbles, and you will observe that figures, of
which the body is seen in profile, have the full face turned to the
spectator. Again, the savage knows that an animal has two sides; both,
he thinks, should be represented, but he cannot foreshorten, and he
finds the profile view easiest to draw. To satisfy his need of realism
he draws a beast's head full-face, and gives to the one head two
bodies drawn in profile. Examples of this are frequent in very archaic
Greek gems and gold work, and Mr. A. S. Murray suggests (as I
understand him) that the attitude of the two famous lions, which
guarded vainly Agamemnon's gate at Mycenae, is derived from the archaic
double-bodied and single-headed beast of savage realism. Very good
examples of these oddities may be found in the _Journal of the
Hellenic Society_, 1881, pl. xv. Here are double-bodied and
single-headed birds, monsters, and sphinxes. We engrave (Fig. 15)
three Greek gems from the islands as examples of savagery in early
Greek art. In the oblong gem the archers are rather below the Red
Indian standard of design. The hunter figured in the first gem is
almost up to the Bushman mark. In his dress ethnologists will
recognise an arrangement now common among the natives of New
Caledonia. In the third gem the woman between two swans may be Leda,
or she may represent Leto in Delos. Observe the amazing rudeness of
the design, and note the modern waist and crinoline. The artists who
engraved these gems on hard stone had, of necessity, much better tools
than any savages possess, but their art was truly savage. To discover
how Greek art climbed in a couple of centuries from this coarse and
childish work to the grace of the AEgina marbles, and thence to the
absolute freedom and perfect unapproachable beauty of the work of
Phidias, is one of the most singular problems in the history of art.
Greece learned something, no doubt, from her early knowledge of the
arts the priests of Assyria and Egypt had elaborated in the valleys of
the Euphrates and the Nile. That might account for a swift progress
from savage to formal and hieratic art; but whence sprang the
inspiration which led her so swiftly on to art that is perfectly free,
natural, and god-like? It is a mystery of race, and of a divine gift.
'The heavenly gods have given it to mortals.'
FOOTNOTES:
[237] The illustrations in this article are for the most part copied,
by permission of Messrs. Cassell & Co., from the _Magazine of Art_, in
which the Essay appeared.
[238] Part of the pattern (Fig. 5, _b_) recurs on the New Zealand
Bull-roarer, engraved in the Essay on the Bull-roarer.
[239] See Schliemann's _Troja_, wherein is much learning and fancy
about the Aryan Svastika.
INDEX.
Accadia, 62, 137, 151, 154
Achbor, 115
Acosta, 19
Adityas, 135
AEetes, 95
AElian, 109
AEschines, 39
Africa, 149
-- customs of women in, 72
-- divining rod in, 184-186
Aleutians, 74
Amazon, Indians of, 131
Ancestor worship among Hottentots and elsewhere, 197-211
Ancestors in stars, 129, 130
Animal bride, 76
-- deities, 103-120
-- worship, 118
Animals--
bear in religion, 176
descent claimed from, 104, 128
in stars, 121-142
sacred, 103-120
sun regarded as a beast, 133
Apollo and the mouse, 103-120
Apollodorus, 49
Apollonius Rhodius, 95
Apsaras, 65
Apsyrtos, 95
Apuleius, 64, 75
Arcadians, 128
Ares, 126
Argives, 110
Aristophanes, 133
Arktos, 141
Arnobius, 39
Art, early Greek, 303
-- gods in, 118
Art of Ojibways, 293
-- of savages, 276-304
-- Palaeolithic, 297
Artemis Orthia, 33
Aryan myths parallel with savage, 83, 96, 97, 103-120, 141
-- nuptial etiquette, 76
-- race, 117
Aryans and savages, 134-135
-- sensitive to 'loud' colours, 69
Ashanti, 24
Assyria, army of, destroyed, 112
Assyrian etymologies, 28
Astley, 72
Atharva Veda, 216, 217
Athens, owl of, 110
Aurelii, 104
Australia, 72
-- arts of, 283
-- divination in, 170
-- Herbert Spencer on, 125
-- moon myth, 54
-- native stratagem, 41
-- religion of, 231
-- swallowing myth, 54
Aymar, Jacques, 191-195
Baal, 62
-- Hamon, 61
Ballad of 'Bonny Hind,' 175
Ballads, 156-179
Barbadoes, 20
Bear among stars, 121
-- Callisto changed into, 128
-- in Finnish and other religions, 176
-- Max Mueller, Mr., on Great, 139
-- Totem of Iroquois, 110
-- tribes, 128
Beaver, myth of, 79-81
Bergaigne, 241
Bernier (Abbe), 197
Berosos, 60
Bheki, 77-80
Bible, 183
Bleek, 54, 131
Bongoes, 150
Boyd, Dawkins, 299
Brahmana Aitareya, 134
-- Satapatha, 134
Brahmanas, 69
Brazil, mysteries in, 43
Brown, Mr. Robert, 60
-- on Moly, 151-153
-- on star myths, 137
Buddhist story, 132
Bull-roarer, 29-44
Bushmen, 41, 53, 147
-- art of, 295
-- their star myths, 122, 124, 131
-- swallowing myth of, 53
Callaway, 84
Callisto, 132
Campbell, J. F., 93
Cannibals, 88
Cappadocia, 152
Castor and Pollux, in Australia, 128
Castren, 78
Catlin, 40
Cat, recognised as the moon, 117
Celts, art of, 289
_Chanson de Geste_, 161
Cheparas, 34
Chevreuil on divining rod, 188
China, _planchette_ in, 187
Circe, 147, 154
Clemens of Alexandria, 39
Coins, 110
Combs in Myths, 92, 98
'Comparative Mythology,' 58
Congo, mysteries on, 40
Costigan, Captain, 41
Crests, 109, 110
Cronus, myth of, 45-63
-- sickle of, 61
Crow, 126
Culture-Hero, 55
'Cupid and Psyche,' 64-86
Curtius, 3
Cushing, 37
Customs, savage Greek of expiation, 96
Customs of women, 71, 73
-- of savages, 72
-- among Yorubas, 73
-- in Australia, 72
-- Aleutian, 74
-- Bulgarian, 73
-- Breton, 75
-- Carib, 73
-- Carian, 74
-- Circassian, 73
-- Futa, 72
-- Fijian, 73, 74
-- Iroquois, 73
-- Kaffir, 74
-- Milesian, 74
-- in Naz, 75
-- Spartan, 73
-- Timbuctoo, 72
-- Welsh, 74
-- Zulu, 74
Dacotah, 117
Dalton, 81
Dancing, Lucian on, 41
Dawn, 203, 210
-- myth, 56
-- Urvasi recognised as, 68
Dead, the home of the, 171
-- worship of, 197-211, 239
De Brosses, 214-216, 224, 227
De Cara, 3
De Gubernatis, 117, 148
Delphi, fetich-stone of, 52
Deluge myth, 34
Demeter, 19
-- and the ram, 6
Demosthenes, 39, 40
Devas, 234
'Dionysiak Myth,' 60
Divination in Australia, 170
Divining rod, 180-196
Dog-star, 154
Dozon, 73
Dumuzi, 137
Edomites, 115
Egypt, 27, 113
-- cats sacred in, 113
-- mouse myth in, 111
-- rats sacred in, 113
Emerald, worship of, 105
Eos, 69
Epic, Greek, its origin, 161
-- of Finns, 156-179
Eratosthenes, 125
Eskimo, 130
-- art of, 285
-- moon myths, 132
Euhemerism, 199
Euhemeros, 197, 198
Eustathius, 103
Euthyphro, 46, 47
_Exogamy_, 24, 102, 245-275
-- in Finland, 164
Ezekiel, 115
Fairy-bride, 82
Family, the history of, 245-275
-- gods, 119
Farrer, 82
Fauriel, 178
Fetich-stone of Delphi, 52
Fetich-stones, 224
Fetichism, 212-242
Finns, poetry of, 156-179
Folklore, 6
-- method of, 10-28
-- of plants, 143-155
Food of dead men, 171
-- tabooed, 115, 119
Frog, myths of, 77, 80
Frog, descent claimed from, 104
Futa, 72
Gallinomeros, 133
Gandharvas, 66, 67
Gaunab, 205-211
Garcilasso de la Vega, 103-107
_Gens_ (_see_ 'Family')
~Genos~ (_see_ 'Family')
'Gentile system,' 236
Gervase (of Tilbury), 76
Ghosts, 143, 233
-- (ancestral), 199
Giant, 90-92
Giordano Bruno, 139
Glacial age, 298
Gods, family, 119
-- horned, 60
-- in art, 118
-- in bestial form, 134
-- in Samoa, 119
-- lame, 206
-- of Greece, 27
-- of Hottentots, 197-211
-- Vedic, 234
-- Vedic and Brahmanic, 27
Greece, fetich-stones in, 224
Greeks, their star myths, 136
Grimm, 56, 147
Grohmann, 116, 117
Guiana swallowing myth, 55
Hades, 65
Hahn, 149, 202-211
Halevy, 155
Hamelin, Piper of, 114
Hare and moon, 132
-- in Zulu myths, 168
Harpocration, 40
Hartung, 61
Harvest home, superstitions of, 18
Heaven and earth, 45
-- -- Indian myth of, 50
Heitsi Eibib, 209
Hephaestus, 111, 112
Herodotus, 41, 111
Hesiod, 53, 94, 128
Hittites, 153
Homer, 69, 103, 122
Horned gods, 60
Horus, 113
Hottentots, 197-211
-- Herb-lore of, 143-155
Howitt and Fison, 34
_Huacas_, 105
Human sacrifice, 61
Ice, Age of, 298
Il, 60
Iliad, 103
Inca, 103
Indra, 134
-- a 'shape-shifter,' 126
Infinite, the, 206
Initiation (_see_ 'Mysteries')
Ioxidae, 119
Iron, a tabooed metal, 64
-- the birth of, 169
-- in Vedic India, 217
Iroquois, 36, 110
Isaiah, 115
Isis, 130
Israel, Totems of, 115
Jacob, _Verge de_, 187
Japanese, 93
Jason, 5
-- the myth of, 87-102
-- the Red Indian parallel, 99
-- Samoan parallel, 97
Job Ben Solomon never saw his wife, 72
Jonah, 55
Jurupari pipes, 43
Kaffir swallowing myth, 54
Kaffirs, 38, 218
Kalevala, 100, 156-179
Kamilaroi, 34
_Karnos_, _Karnu_, _Keren_, 60
_Kathasarit sagara_, 92
Kohl, 80
~Konos~, 39
_Krana_, 59
Krishna, 170
~Kronides~, 57, 58
~Kronion~, 57
~Kronos~, 57, 61
Kuhn, 59, 68, 69
-- differs from Mr. Max Mueller on etymology of Urvasi and Pururavas, 70
-- sees fire myths everywhere, 70
Kurnai, 34
Kwai Hemm, 53
Lafitau, 36, 73
Language and thought, 211
-- childhood of, 218
Liebrecht, 70, 71, 112
Lightning, 117
Loftie, Mr., 113
Long on 'Totamism,' 105
Loennrot, 160
Lucian, 41
Lyons, murder at, 191
M'Lennan, Mr., on the family, 245-275
Magic, 146
-- Algonquin, 99
-- in Vedas, 241
-- note of lower culture, 78
Maine, Sir Henry, on the family, 245-275
Maize, superstition about, 20
Malagasy Maerchen, 93
Malebranche, 190
Mandragora, 143-155
Mandrake, 144-152
Manabozho, 293
Mantis insect, 53, 208
Maoris, art of, 286
-- myths of, 45-50
Maerchen--
Algonquin, 82
Bornoese, 82
Dutch, 76
features of, 157, 158, 163
of _Nicht Nought Nothing_, 89
of Swan Maidens, 82
Russian, 93, 171
Scotch, 89
South African, 171
West Highland, 93
Marriage, early, 245-275
-- law of exogamy in, 24, 102
-- in connection with Totemism, 106-107
Master of Life, 105
Medea recognised as Moon, 96
-- as Lightning, 96
Melanesia, 55, 146
Melanesian myths, 56
_Melusine_, 117
-- myth of, 76
Merman, forsaken, 76
Mexico, 16
Meyer, 66
Milky Way, 122
Mimnermus, 95
Moloch, 62
Moluna, Christoval de, 105
Moly, 143-155
Mongols, divining rod among, 184
Moon and hare, 132
-- Australian myth of, 54
-- man in, 132
-- Medea thought to be, 96
-- myths, 132
'Moon-cat,' 117
Mouse and Apollo, 103-120
'Mouse of Night,' 117
Mouse tribe, 114
Mouse-Apollo, 103-120
Muir, 50
Mueller, Mr. Max, 57, 66, 67
-- on childhood of language, 74, 218
-- on etymology of Urvasi, 68, 69
-- on fetichism, 212-242
-- on Great Bear, 139, 140
-- on Hottentot myths, 197-211
-- on Hyperion, 132
-- on myth of sun-frog, 77, 78
-- on _Ote_, 105
-- on spelling of _Totem_, 105
-- version of Vedic hymn, 83
Mueller, C. O., 128
_Murri_, 127
Mysteries, 29-44
-- Dionysiac, 39
-- in Brazil, 43
-- of Bushman, 42
Myths, Accadian, 137
-- Algonquin, 99
-- Australian, 130
-- Brazilian, 131
-- Bushman, 131
-- Chinese, of mice, 112
-- diffusion of, 23, 24
-- Egyptian, of mice, 112;
of stars, 130
-- Eskimo, 130, 132
-- Finnish, 101
-- Indian, of serpent, 81
-- Japanese, 93
-- names of taboo on, 82
-- of animal bride, 76-80
-- of beaver (Ojibway), 79
-- of Cronus, 45-63
-- of Finland, 156-179
-- of Hottentots, 197-211
-- of Jason, 87-102
-- of Melanesia, 56
-- of Melusine, 76
-- of mice, 103-120
-- of night, 55
-- of plants, 143-155
-- of 'sun frog,' 77-80
-- of swallowing, 53, 54
-- of tabooed names, 82
-- of wind, 55
-- Peruvian, 129
-- Samoan, 97
-- Samoyed, 88
-- solar, 131-133
-- star, 121-142
-- Zulu, 84, 85, 88, 93
Mythology--
a 'disease of language,' 1
philological method of, 201-211
systems of interpretation of, 1-9
views of Grohmann, 117
-- of Gubernatis, 117
Naga (or serpent) race, 81
Names as germs of myths, 1
-- arguments against, 2, 3
-- of husbands not to be uttered by wives, 74
Naz, a fabulous country, 75
New Caledonia, 230
New Mexico, 31
New Zealand, 35, 143
_Nicht Nought Nothing_, 89
Night myth, 55
Oceanus, 48
Odin, 27
Odysseus, 20
'Odyssey,' 144, 147
Oedipous, 5
Ojibways, art of, 293
-- myths, 79
Orion, 121
Osiris, barrows of, 205
Osiris, 130
Ovahereroes, 20
Owl of Athens, 110
-- sacred in Samoa, 119
Pacarissa, Peruvian word for _Totem_, 104
Pachacamac, 105
Palaeolithic man, his art, 299
Pausanias, 33, 52, 223
Pauthier, 50
Paoli, 110
Papa, 45, 46
Peau d'Ane, 64
Persephone, 19, 65, 171
Perseus, 5
Peru, art in, 288
-- religion of, 103-107
Pezazi, 15
Philistines, 115, 116
Philology, method of, in mythology, 97, 201
Phocians, 41
Picture-writing, 292
Pindar, 95
Piper, the Pied, 114
_Planchette_, in China, 187
Plants, folklore of, 143-155
Pleiades, 23, 121
-- in Australia, 126
Popular element in myth and religion, 178, 179
-- tales (_see_ 'Maerchen')
Poseidon, 126
-- swallowing of, 51
Pottery, common features of early, 22
-- early, 289
Pragapati, 59, 134, 211
Preller, 61, 96
Psyche, 171
Puang-ku, 50
Pundjel, 73, 130
-- Australian god, 35
Pururavas, 65-67, 76
-- etymology of, disputed, 68, 69, 71
Qat, 55
Qing, 42
Ra, 113
-- rat of, 115
Rainbow, 117
Ram, in stars, 129
-- Zeus and the, 6
Rat, sacred in Egypt, 113
Red Indians, 21, 152
-- swallowing myth, 55
Religion, Aryan, 212-242
-- Greek and Egyptian, 118
-- origins of, 212-242
Rhodes, 61
~Rhombos~, 39
Rhys, 82
Riddles, 14
Rikshas, 140
Ritual, 113
Robertson Smith on Totems, 115
Rome, sun worship in, 104
Roth differs from Mueller and Kuhn as to etymology of Urvasi, 70
Rowan, 154
Rudra, mouse sacred to, 116
Rue, 152
Sacrifice, human, 61
Sahagun, 16
St. Gertrude, 119
Samoa, 33
-- animal worship in, 119
Samoans, 152
Samoyeds, myths of, 88
Sampo, 169
Sanskrit, 77, 140
Saturn, 61
Savage ideas in Greece, 119
Savages, 72
-- and Aryans, 135
-- art of, 276-304
-- fancy of, creates myths, _passim_
-- their astronomy, 138
-- their customs in regard to marriage etiquette, 73, 74
Sayce, Prof., 62, 141, 151
-- on myth of mice, 112
-- on Totemism in Egypt, 118
Scandinavia, gods of, 27
Scarabs, 113
Schliemann, 288
Schrader, 4
Schwartz, 61, 96
-- sees storm myths everywhere, 71
Seb, 60
Semitic peoples, Totemism of, 115
-- sacrifice, 61
Sennacherib, 112
Serpent, 117
-- myth of, 81
-- dance, 21
Servius, 37
Sethos, 111, 112
Shaman, 136
Siati, the Samoan Jason, 97
Sickle of Cronus, 61
~Sminthios, Smintheus~, 103-120
~Sminthos~, 108
Snakes as ancestors, 227