Ovid's Metamorphoses can, as announced in its opening lines (1.1-4), be characterized as an epic which is one continuous song composed of variegated stories of metamorphoses. According to B. Otis, this characteristic consists of three elements: continuity, variety and unity. Furthermore in some cases Metamorphoses shows a structure in which a story is told in yet another story. The aim of this paper is to demonstrate the importance of this characteristic in connection with Orpheus' song (10. 148-739). In book ten Orpheus sings seven stories, and they are connected with each other to be one unified song. This paper examines the first two stories ('Ganymede' and 'Hyacinthus') and the last two ('Adonis' and 'Atalanta') in his song. We shall discuss the interrelation among these stories in respect of the common elements, 'gravity', 'lightness', 'earth' and 'sky', which can be found in them. First, in the stories of 'Ganymede' and 'Hyacinthus' we find that the elements of 'gravity and lightness' and 'earth and sky' are emphasized. These two stories are connected by these elements which point to the contrast between Ganymede and Hyacinthus. For instance, Ganymede was loved by Jupiter and snatched away into the ether, whereas Hyacinthus, who was loved by Apollo on earth, became flower on the ground after his death. Moreover, in the scene of death and transformation of Hyacinthus these elements are important in that they underline the contrast between mortals and immortals. Mortals have the attribute symbolized as 'earth and gravity'. On the other hand, immortals including Ganymede after he was brought up to heaven, have the attribute of 'sky and lightness'. This shows that these elements create not only the narrative continuity but also the correspondences between the stories. These elements play a vital role in unifying the stories. Second, we shall discuss the interrelation between the stories of 'Adonis' and 'Atalanta'. Adonis, who is described as having the attribute of 'gravity' in the first part of story, obtains the 'lightness' when he is transformed into an anemone. In contrast, Atalanta, who has the 'lightness' in the first part, obtains the 'gravity' when she is transformed into a lioness. Even though their metamorphoses show a striking contrast, they resemble each other in that they both relate to the 'earth'. This resemblance becomes clearer when we compare them with the elements of 'lightness and sky' of Venus and notice the contrast between mortals and immortals. By focusing our attention on the 'gravity and lightness' and 'earth and sky', we perceive the interrelation between these stories. The first two stories and last two, which form the outer frame of Orpheus' song, depict love and sorrow of humans and gods. These stories draw the contrast between mortals who have the attribute of 'gravity and earth' and immortals characterized by the nature of 'lightness and sky'. We conclude that these elements create interrelation among stories and the unity of Orpheus' song.

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Speeches in Ovid's Metamorphoses which are not made in dialogue can be divided into two groups, monologues and addressing speeches. Four "Totenklage" in the Metamorphoses belong to the latter group, because they are mourning speeches which are addressed to the dead by their lovers or their kindred. Addressing characters in the Metamorphoses are: Apollo over the death of Hyacinthus(10. 196-208), Venus over the death of Adonis(10. 724-31), Aesacus over the death of Hesperie(1l. 778-82) , and Hecuba over the death of Polyxena(13. 494-532). These speeches contain many topoi of the genre "Totenklage" and show Ovid's rhetorical technique. In the context of the Metamorphoses, they also play an important part in bringing metamorphoses into the story. A god predicts a metamorphosis of the dead, and then his metamorphosis takes place. A man, too, motivates a metamorphosis by declaring, for example, his intention of committing suicide and brings the story to an end. Hecuba's speech is by far the longest "Totenklage" of all: it has 39 lines. This speech resembles the mourning speech made by Euryalus' mother in the ninth book of the Aeneid. The resemblance between the two speeches shows not only frequent use of topoi but also Ovid's consciousness of the tradition of Epic poetry. Hecuba continuously mourns her dead daughter Polyxena and bewails her own ill fortune, and the function of her speech seems different from other "Totenklage" in that it doesn't bring a metamorphosis into the story. The word "superest" is a clue to the solution. This word appears twice in her speech, at line 494 and at line 527. At line 494 Hecuba thinks nothing is left to her, but at line 527 she finds her most beloved son Polydorus is still alive. This hope gives her the will to live and immediately she ends her lament. Actually, Polydorus has already been killed and when she realizes the fact, she can endure her sorrow no more : Hecuba takes her revenge for her son and changes into a dog. Thus, her speech has close relation to her metamorphosis. "Totenklage" in Ovid's Metamorphoses play a vital role in the story.

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It is evident that George Herbert learned directly from John Donne. Here and there, we can hear Donne's echoes in the poetry of Herbert. Yet in spite of their close relationship, we sometimes miss Donnean traits in Herbert because of the difference in subject matter between the two poets. Herbert uses the myth of Atlanta in Donne's love elegy, "To his Mistris Going to Bed, " in a very different context from that of the original. The words of Atlanta's balls in Donne's elegy derived from Ovid's Metamorphoses, symbolise the foolish behaviour of those who are attracted by the glitter of accessories. The image of Atlanta's balls lies buried in the lines of Herbert's religious poem, "The Pulley." In this tentative essay, I try to elucidate how Herbert reverberates Donne's Atlanta's balls in "The Pulley."

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Mrs Dalloway which Daiches so aptly calls a London novel impresses us most strongly with its minute descriptions of London scenery. However, pastoral scenes related to the characters are interwoven with the urban setting of the novel : Lady Bruton daydreams about the fields of her hometown in Devonshire and Richard Dalloway dreams the idyllic landscape in Norfolk. Then what meanings and functions do the pastoral scenes have for Clarissa? Traditionally the pastoral has been discussed in a binominal contrast of city - country ; Toliver further defines it in terms of paradise, contrast and transformation. Clarissa' s case exemplifies this. In her London life, Pym' s florist' s becomes pastoral for her because the Arcadian space with flowers and fragrance is a locus amoenus, or a "lovely place" and provides her with the ecstacy of life and rest. Nevertheless, aging and death are already immanent in this earthly paradise. Pym notices that Clarissa looks "older this year" so that at Pym's florist" s there is also a diametric contrast between life and death. The transformational power of the pastoral functions in Clarissa' s party. Although the party is held at the Dalloways in London, it recreates the pastoral in her consciousness by reviving her rural past in Bourton. There in the locus amoenus, the sacred center of the pastoral circle, she succeeds in uniting her two opposite selves and becomes an integrated whole. Thus, this paper argues that by fusing the traditional pattern of the pastoral with "stream of consciousness" Clarissa establishes her inner reality. The influence of pastoral romance is also traced.

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Im folgenden Aufsatz handelt es sich hauptsächlich darum, die konstruktiven Merkmale in Mörikes “Idylle vom Bodensee” in bezug auf seine Beschäftigung mit der europäischen idyllischen Tradition, besonders Theokrits Werken, zu erfassen und zugleich ihre literaturgeschichtliche Stellung innerhalb der deutschen Idylle als Übergang von der späten Romantik zum bürgerlichen Realismus zu beweisen.
Im Jahre 1840 veröffentlichte Mörike “Classische Blumenlese”, eine Auswahl aus der griechischen und römischen Poesie (darunter auch Theokrits Idyllen) und fünfzehn Jahre später (1855) gab er noch einmal, zusammen mit Fr. Notter, eine Übersetzung der griechischen Bukoliker Theokrit, Bion und Moschos heraus.
Bei Theokrit (aus Syrakus, 3. Jh. v. Chr.) findet man viele Archetypen der idyllischen Rhetorik -die Beschreibung der angenehmen Landschaft (locusamoenus -Id. I., XXI., etc.), den ironischen Realismus der mimischen Charaktere (Id. XI., XV., etc.), die Kataloge der Speise und der alltäglichen Werkzeuge (Id. XXI., XIV., etc.) und die detaillierte Beschreibung von Kunstwerken (Ekphrasis-Id. I., etc.). E. R. Curtius hat in seinem umfassenden Buch “ Europäische Literatur und lateinisches Mittelalter” diese Rhetorik Topos (pl. Topoi) genannt.
Mörikes “Idylle vom Bodensee” machte von diesen antiken Topoi Gebrauch, um damit das damalige Leben archaisierend zu gestalten und dadurch einen Ausgangspunkt für die Ontologie des bürgerlichen 19. Jhs zu erschließen.
locus amoenus: Wie bei Theokrit, so auch bei Mörike gewinnt die Beschreibung der angenehmen Landschaft eine wichtige Bedeutung. In der ersten Idylle Theokrits suchen der Schäfer Thyrsis und Geißhirt einen zum Singen geeigneten Ort unter einer Ulme. Ebenso in “Idylle vom Bodensee” finden der alte Fischer Martin und die Mähder vom Dorfe (der Schneider Wendel und Steffen) an einem Nachmittag auf den kühlen Platten den zum Trunk und Plaudern geeigneten Platz. Dieser Lieblingsplatz, locus amoenus, gehört zu einer europäischen idyllischen Tradition, die ursprünglich von Homer (der Garten des Alkinoos, “Odyssee” VII., 112 etc.) stammt und dann von Theokrit und Vergil übernommen wurde. Die Beschreibung der angenehmen Landschaft bei Mörike ist zwar statisch, oder richtiger, biedermeierlich sehr entfernt vom Zeitstrom. Aber diese Statik ermöglichte es ihm, durch die präzise Betrachtung und Vertiefung in die Gegenstände des alltäglichen Volkslebens den Zugang zum bürgerlichen Realismus zu öffnen.
Mimischer Charakter: In Vossens Idylle “Luise” findet man oft die homerische Gewohnheit der stehenden Beiwörter (epitheton ornans), z. B. der ehrwürdige Pfarrer von Grünau, die alte verständige Hausfrau, die rosenwangige Tochter etc....Im Vergleich mit dieser homerischen Typisierung seiner idealen Gestalten ist Mörikes Vorbild in Theokrits realistischen Charakteren zu suchen.
Theokrit nämlich übernahm die Tradition des Mimus, der volkstümlichen Darstellung von Szenen aus dem täglichen Leben. In seiner Idylle XV. “Die Syrakuserinnen am Adonisfeste” halten zwei in Alexandrien lebende bürgerliche Frauen die platteste, alltäglichste Zwiesprache. Charakteristisch ist auch “Der Kyklop” (Id. XI.), der kein gewaltiger, unheimlicher Riese ist wie in Homers“Odyssee” (IX.), sondern derjenige, der um die geliebte Meernymphe Galateia mit bescheidenen, rustikalen Geschenken zu werben sucht. Solche Charakteristik der Einzelpersonen kennzeichnet den ironischen Realismus in Theokrits Idyllen.
Mörikes Gestalten (der schalkhafte Fischer Martin, der leichtgläubige und schlaue Schneider Wendel etc.) spiegeln diesen ironischen Realismus wider

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In the Middle Ages " a fool's glass" was used as a tool for self-reflection. Shakespeare handled it skillfully in his works. In A Midsummer night's Dream, that skill is found in the way which is quite immature. Let us look at that handling of the fool's glass in some other works before we search that skill in " A Midsummer night's Dream." And Comparing the result of our discussing with it, we conclude it as follows : Shakespeare uses a fool's glass as the means which can pass into another world. In Hamlet that another world is the world of Death. And when the gap of time arises, the gate between two worlds is opened. In Macbeth wWeird Sisters come into our world from their supernatural world. They place the gate and make it open like this. "When shall we three meet again?" In Hamlet the fool's glass is Ophelia's eyes. Hamlet can enter into another world-death world-through her eyes. Hamlet can enter into another world-death world-through her eyes. His reflected figure on her eyes is his own another self. the name of Hamlet means "fool". When he gazes his own figure, he gazes his foolish self. His father's name is Hamlet. dead Yorick he speaks to was once a court fool. ophelia's pupils are a fool's glass and function as the passing gate of some supernatural existance. In " A Midsummer Night's Dream", we can observe the immature origin of those elements. Through the hole of Wall, Pyramus and Thisby meet each other. they are fools. But they are not those who appear in Shakespeare's later works. They are not educated, so they appear to be foolish in the eye of Theseus Hippolyta and us. Their foolishness is not so serious, compared with that of Hamlet. Bottom's group think themselves as great actors, so they are foolish. The audience notice them foolish, but Bottom's group don't and never try to notice it. Hamlet asks himself what he and torments himself. So the foolishness of Bottom's group is more supericial. In Macbeth, Weird Sisters enter on the stage by using a placed time, When we search A Midsummer Night's Dream, we find the same situation, but in this play, the word "when" equals "if". The definite word of time becomes more vague and fantastic. And such a fantastic and vague word "if" introduces supernatural element into the stage. And so the hole of Wall opens, as Birnam wood moves.In this way, we observe the beginning of using a fool's glass in A Mid summer Night's Dream.

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キュンティア(以下C.)が田舎に出かける際,プロペルティウス(以下P.,引用も同様)が田舎の純潔を讃え,ローマの危険を歌った送別の辞,というのがP.2. 19の伝統的理解であろう.確かに表面上は,その様に見えるが,私には,この歌には何か別の響きが隠されているように思われる.唯一Bodohがこれを指摘しているが,彼の解釈は全体としては失敗と言わざるを得ず,そのためか,彼以後も,この歌の恐らくは本質的な部分が無視されている.この歌には,さらに,本文の問題があるうえ,後半部には改竄までもが紛れ込んでいる.本稿の目的は,これらの本文上の問題の解決と,この歌全体の解釈である.

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Das erste Idyll Theokrits wirft fur die Forschung bestimmte Probleme auf, die sich in den verschiedenen Interpretationsthesen zu diesem Gedicht spiegeln. Kennzeichnend fur die meisten Interpretationen ist der Versuch, die Leiden des Daphnis in einem Zusammenhang mit der Tragik des Hippolytos zu sehen. Damit verwandt ist der Versuch, eine Vorgeschichte des Daphnis zu konstruieren. Eine andere Auffassung sieht in der ironischen Distanz des Autors zu seinen poetischen Gegenstanden den Grundcharakter des theokritischen Werks. Insofern destruieren das Stadtleben spiegelnde Verhalten des Geisshirten und die Figur des an den vollig unbukolischen tragischen Helden Hippolytos erinnerunden Daphnis die bukolische Stimmung der Anfangsszene, die von der Beschreibung des locus amoenus erregt wird. Fur diese Interpretation entsteht aber die Frage nach dem Zusammenhang der Daphnis Geschichte mit dem bukolischen Eingangsthema und damit die Frage nach der inneren Einheitlichkeit dieses Gedichtes. Wenn man Daphnis "unbukolisch" auffasst, wird insgesamt problematisch, ob das erste Idyll ein bukolisches Gedicht ist und was uberhaupt das Bukolische bei Theokrit bedeutet. In der Anfangsszene beschreiben Thyrsis und der Geisshirt sowohl ihre musische Betatigung als auch die schone Natur mit dem Schlusselwort theokritischer Hirtendichtung, αδυ. Auch in der Beschreibung des Trinkgefasses durch den Geisshirten, das im Namen "Kissybion" und in den darauf geschnitzten Szenen nicht stadtische, sondern landliche Zuge aufweist, wird die gleiche Wirkung der schonen Natur und des musischen Werks auf die Menschenseelen angedeutet, so dass zwischen der Gefassbeschreibung und der bukolische Eingangsstimmung des Gedichtes ein tieferer Zusammenhang besteht. Zur Erklarung des Leidens Daphnis' im Thyrsis-Lied miissen die Worte, welche die Gottheiten an den "dahinschmelzenden" Daphnis richten, genau untersucht werden. Aus der Rede Aphrodites ist zu schliessen, dass Daphnis im Gegensatz zu Hippolytos, der unempfindlich gegen die Reize des Aphrodisischen ist, durch die Pfeile des Eros todlich verwundet wird und dennoch entschlossen ist, lieber zu sterben als dem Drangen des Eros nachzugeben. Das Verhalten der Gottin lauft auch nicht darauf hinaus, Daphnis wie Hippolytos mit dem Tod zu bestrafen. Sie versucht sogar, nachdem er sie an ihr eigenes Leiden durch die Liebe zu Anchises und Adonis erinnert hat, sein Leben zu retten. Die Rede Priaps wird oft so ausgelegt, dass Daphnis' Liebe unerwidert und deshalb unglucklich sei. Mir scheint vielmehr, dass Priaps Spott die Ohnmacht Daphnis' gegenuber Eros und den unerfullbaren Wunsch Daphnis' treffen soil. Auch Hermes' Wort zeigt offensichtlich, dass der Grund des Leidens Daphnis' nur seine Verliebtheit ist, unabhangig von konkreten Umstanden dieser Liebe. Die Interpretationen, die Daphnis' Ungluck aus einer im Gedicht nicht erwahnten Vorgeschichte erklaren wollen, gehen deshalb fehl. Denn als das Wesen des Eros der theokritischen Hirten enthullt sich die unerfullbare und dennoch unwiderstehliche Sehnsucht nach Schonheit. Das einzige Heilmittel gegen diesen Eros kommt, wie die Klage Thyrsis' uber die Abwesenheit der Nymphen (V. 66 ff.) andeutet, von den Nymphen, d. h. von der heilenden Kraft der Musen. Von diesem Pharmakon spricht Theokrit auch in seinen anderen Werken(z. B. im 7., 10. und 11. Idyll) , und immer handelt es sich dabei um den Versuch, die Liebe aus einer sengenden und schliesslich vernichtenden Gewalt in einen milden, heiteren Seelenzustand zu uberfuhren, und nicht etwa um den sentimentalen Wunsch, sich uber die ungluckliche Liebe hinwegzutrosten. Das Leiden Daphnis' kann daher durchaus zu einem Grundthema bukolischen Singens werden, weil boukoliasthai der Versuch ist, mit den Mitteln der Kunst den Zauber des kakon Eros abzuwehren und durch die Beschaftigung mit dem Schonen in Natur und

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In 750 B. C., the Greeks added the pteron to the first of the temples of Hera at Samos (the naos hekatrmpedon, c. 800 B. C.). The addition of the pteron brought differentiation of two aspects of spatial composition on the temple, i. e. the temple obtained the external appearance and therefore the naos became true interior space. This spatial differentiation closely correspond to the mythological spatial thinking on agriculture in Greek myth. That is, the naos is the metaphor of the underground which is the chthon, and the pteron is that of the terrestial world.

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La Morte di Adone (Firenze, Galleria degli Uffizi) di Sebastiano del Piombo (1485-1547), una tela insolitamente grande per l'epoca, e una delle poche opere pittoriche di argomento mitologico attribuite al pittore veneziano. Sebbene manchino documenti che permettano di determinare il committente del quadro, gli studi piu recenti concordano sul nome di Agostino Chigi (1466-1520), uno dei principali mecenati del pittore. Le ricerche precedenti, tuttavia, non avevano dibattuto a fondo la partecipazione di Chigi alla commissione di quest'opera. In questo articolo, a sostegno di questa ipotesi, si cerca di chiarire come, riesaminando il significato del soggetto del dipinto in relazione con il banchiere senese, il quadro risulta riflettere abilmente le intenzioni del suo committente. La storia di Venere e Adone ricorre in numerosi testi classici, fra cui le Metamorfosi ovidiane. Gombrich (1972) e altri indicano come fonte letteraria principale del quadro l'Hypnerotomachia Poliphili, pubblicata nel 1499 a Venezia. Considerando il significato del soggetto della morte di Adone e della sua lamentazione, che a prima vista sembra presentare caratteristiche negative, e a nostro avviso opportuno ricordare l'antico rituale dedicato ad Adone come divinita della vegetazione. Attraverso questa considerazione riteniamo quindi che si mostri con evidenza come tale soggetto possa essere interpretato nel senso di "rinascita". Nella presente rappresentazione della Morte di Adone, il gruppo a destra, composto da un uomo di profilo e tre donne, potrebbe voler accentuate intenzionalmente il concetto di "rinascita". La figura maschile potrebbe essere interpretata come negazione della facolta di rinascere di Adone, mentre le figure femminili come l'opposto di questo concetto. L'idea di "rinascita" insita in tale soggetto ci sembra in realta strettamente legata alle intenzioni di Chigi mecenate. Analizzando le opere poetiche dei letterati presenti nella sua cerchia, colpisce la concordanza di elogi nei confronti del protettore, meritevole di aver recuperato la gloria della Roma antica mediante la ricostruzione dell'attuale Villa Farnesina, nel segno della cultura classica. Considerando l'epopea di Chigi, l'immagine della Venere seduta sotto it fico al centro della scena assume percio un ruolo preciso: quello di sottolineare che la villa chigiana, testimonianza delle attivita culturali di Chigi, puo rappresentare il punto di partenza del Rinascimento a Roma. Quanto all'immagine di Venezia sullo sfondo, la si puo ritenere rapportabile al soggiorno a Venezia effettuato da Chigi immediatamente prima di chiedere a Sebastiano la realizzazione della Morte di Adone. Egli soggiorno nella citta dal febbraio all'agosto del 1511 e ottenne dal governo della Repubblica un contratto per finanziare militarmente la guerra della Lega di Cambrai. Questo successo costituisce una delle piu importanti imprese della sua carriera, attraverso la quale Chigi pote non soltanto ostentare la sua abilita politico-economica, ma anche assicurarsi una stabile fonte di guadagno. La veduta di Piazza San Marco in questo quadro potrebbe percio assumere il significato di simbolo del contributo economico e del successo commerciale di Chigi a Venezia. In conclusione, nella Morte di Adone, mentre la scena mitologica in primo piano potrebbe alludere all'impresa compiuta da Chigi come mecenate, la veduta di Venezia sullo sfondo potrebbe invece riferirsi ai suoi straordinari meriti di banchiere. Tenendo presente the in quel periodo egli desiderava ardentemente acquisire uno status sociale piu alto, a mio avviso si potrebbe rintracciare il motivo per cui commissiono il quadro nel desiderio di dimostrare che la sua attivita finanziaria non mirava al semplice accumulo di ingenti ricchezze, ma intendeva riportare a Roma il fulcro delle attivita culturali, in modo

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In Japanse mythology, Susanowo-no Mikoto is the god of the sea, of the nether world and of "the universal destruction. In these characters, he is almost identical to the Greek Poseidon. And by comparing the myths of the two gods, we can prove that he is even a Horse God like Poseidon. Thus a comparison of the two gods is very instructive, and affords much help in elucidating the obscure points of their myths. For example, the myth of the dispute over Attica between Athena and Poseidon is compared to that over heaven between Amaterasu-Omikami (goddess of the sun, and of the cereal) and her brother Susanowo. In the Japanese myth, this is not a mere dispute, but an invasion of heaven, the domain of the sun- goddess, by the destructive Susanowo. So, the original form of the Athenian myth must have been the invasion of Attica, the domain of Athena, by the destructive Poseidon. In the same way, the controversy of Poseidon with the sun about Corinth, and that with Hera about Argos (Paus. II 1 & 22), must have been originally the invasion of the Sea God, the Flood God in Argos, of these respective lands. The Japanese myth tells also that Amaterasu-Omikami, the sun-goddess, to conciliate the invader, afterwards accepted his proposal to bear children with him, and that by both standing face to face on the opposite side of the celestial river, the god and goddess respectively gave birth to many children (Perhaps the original form of the Athenian myth was that Athena, accepting a similar proposal of Poseidon, gave birth to the olive, and he to Thalassa. But this original form was rationalized afterwards.). Evidently, the prudery and the respect surrounding Imperial Household have here obscured the myth. But the comparison with the myth of Demeter and Poseidon in Arcadia (Paus. VIII 25 & 42) demonstrates beyond doubt that there was in fact a violation of Amaterasu-Omikami by Susanowo. And what is important is that Susanowo threw the skin of a horse into the weaving house of the goddess, breaking the roof, so that the goddess, surprised, wounded her sex with the shuttle, and, furious, hid herself in the dark cave (that is to say, she died). Consequently the whole world was invaded by dark and famine. Here also are much obscuring and distortion of the original form of the myth, due to the prudery and the respect for the deity. But here also the comparison with the Greek myth is very instructive, and attests that Susanowo was a horse (in reality a priest wearing the skin of a horse), when he had violated the goddess, and thus caused her death. (The tradition of Onkeon assures us that Demeter herself was then in the form of a mare, which must be a rationalized interpretation of later age. Primitively, all Hieros Gamos were performances by a human goddess and an animal god.) Thus, that Susanowo was also a Horse God is beyond doubt, and we also find the true meaning of Demeter's going in the cave (death) and a very clear suggestion of the cause of her death. In any case, we can thus, by this comparative method, establish the existence of the rite of Hieros Gamos performed by a 'human goddess with a Horse God in Greece and in Japan ; this rite constituting the first part of a double Hieros Gamos which represents and celebrates the death and the revival of the solar and cereal goddess. And although the Arcadian myth had only conserved the first part of this double Hieros Gamos, its complete development is clearly visible in the mysteries of Eleusis and in the Japanese myth of Amaterasu. (She is resuscitated by a Hieros Gamos of the goddess Ameno-Uzume with the god Sarudahiko, as Demeter was by that of Baubo with Iakkhos. ) But these myths, both Greek and Japanese, represent not only the Hieros Gamos rite of the revival of spring. They contain or conceal also some corresponding historical facts of the same nature on both sides. That is to say, I believe, one can find in

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