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THE FIRE SPIRITUALISED.

'Our God also!' cries each great revolution that advances. His consuming wrath is not now directed against man, but the errors which are man's only enemies: the lightnings of the new Sinai, while they enlighten the earth, smite the old heaven of human faith and imagination, shrivelling it like a burnt scroll!

In this nineteenth century, when the old heaven, amid which this fiery pillar glowed, is again shaken, the ancient phrase has still its meaning. The Russian Tourgenieff represents two friends who had studied together in early life, then parted, accidentally meeting once more for a single night. They compare notes as to what the long intervening years have taught them; and one sums his experience in the words 'I have burned what I used to worship, and worship what I used to burn.' The novelist artfully reproduces for this age a sentence associated with a crisis in the religious history of Europe. Clovis, King of the Franks, invoked the God of his wife Clotilda to aid him against the Germans, vowing to become a christian if successful; and when, after his victory, he was baptized at Rheims, St. Remy said to him- Bow thy head meekly, Sicambrian; burn what thou hast worshipped, and worship what thou hast burned!' Clovis followed the Bishop's advice in literal fashion, carrying fire and sword amid his old friends the 'Pagans' right zealously. But the era has come in which that which Clovis' sword and St. Remy's theology set up for worship is being consumed in its turn. Tourgenieff's youths are consuming the altar on which their forerunners were consumed. And in this rekindled flame the world now sees shrivelling the heavens once fresh, but now reflecting the aggregate selfishness of mankind, the hells representing their aggregate cowardice, and feeds its nobler faith with this vision of the eternal fire which evermore consumes the false and refines the world.

CHAPTER VII.

PARADISE AND THE SERPENT.

Herakles and Athena in a holy picture-Human significance of Eden -The legend in Genesis puzzling-Silence of later books concerning it-Its Vedic elements-Its explanation-Episode of the Mahábhárata-Scandinavian variant-The name of Adam-The story re-read-Rabbinical interpretations.

MONTFAUCON has among his plates one (XX.) representing an antique agate which he supposes to represent Zeus and Athena, but which probably relates to the myth of Herakles and Athena in the garden of Hesperides. The hero having penetrated this garden, slays the dragon which guards its immortalising fruit, but when he has gathered this fruit Athena takes it from him, lest man shall eat it and share the immortality of the gods. In this design the two stand on either side of the tree, around which a serpent is twined from root to branches. The history which Montfaucon gives of the agate is of equal interest with the design itself. It was found in an old French cathedral, where it had long been preserved and shown as a holy picture of the Temptation. It would appear also to have previously deceived some rabbins, for on the border is written in Hebrew characters, much more modern than the central figures, 'The woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise.'

This mystification about a design, concerning whose

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MAN AND GARDEN.

origin and design there is now no doubt, is significant. The fable of Paradise and the Serpent is itself more difficult to trace, so many have been the races and religions which have framed it with their holy texts and preserved it in their sacred precincts. In its essence, no doubt, the story grows from a universal experience; in that aspect it is a mystical rose that speaks all languages. When man first appears his counterpart is a garden. The moral nature means order. The wild forces of nature-the Elohim-build no fence, forbid no fruit. They say to man as the supreme animal, Subdue the earth; every tree and herb shall be your meat; every animal your slave; be fruitful and multiply. But from the conflict the more real man emerges, and his sign is a garden hedged in from the wilderness, and a separation between good and evil.

The form in which the legend appears in the Book of Genesis presents one side in which it is simple and natural. This has already been suggested (vol. i. p. 330). But the legend of man defending his refuge from wild. beasts against the most subtle of them is here overlaid by a myth in which it plays the least part. The mind which reads it by such light as may be obtained only from biblical sources can hardly fail to be newly puzzled at every step. So much, indeed, is confessed in the endless and diverse theological theories which the story has elicited. What is the meaning of the curse on the Serpent that it should for ever crawl thereafter? Had it not crawled previously? Why was the Tree of the knowledge of Good and Evil forbidden? Why, when its fruit was tasted, should the Tree of Life have been for the first time forbidden and jealously guarded? These riddles are nowhere solved in the Bible, and have been left to the fanciful inventions of theologians and the ingenuity of

A PUZZLING legend.

65

rabbins. Dr. Adam Clarke thought the Serpent was an ape before his sin, and many rabbins concluded he was camel-shaped; but the remaining enigmas have been fairly given up.

The ancient Jews, they who wrote and compiled the Old Testament, more candid than their modern descendants and our omniscient christians, silently confessed their inability to make anything out of this snake-story. From the third chapter of Genesis to the last verse of Malachi the story is not once alluded to! Such a phenomenon would have been impossible had this legend been indigenous with the Hebrew race. It was clearly as a boulder among them which had floated from regions little known to their earlier writers; after lying naked through many ages, it became overgrown with rabbinical lichen and moss, and, at the christian era, while it seemed part of the Hebrew landscape, it was exceptional enough to receive special reverence as a holy stone. That it was made the corner-stone of christian theology may be to some extent explained by the principle of omne ignotum pro mirifico. But the boulder itself can only be explained by tracing it to the mythologic formation from which it crumbled.

How would a Parsi explain the curse on a snake which condemned it to crawl? He would easily give us evidence that at the time when most of those Hebrew Scriptures were written, without allusion to such a Serpent, the ancient Persians believed that Ahriman had tempted the first man and woman through his evil mediator, his anointed son, Ash-Mogh, 'the two-footed Serpent.'

But let us pass beyond the Persian legend, carrying that and the biblical story together, for submission to the criticism of a Bráhman. He will tell us that this AshMogh of the Parsi is merely the ancient Aèshma-daéva

VOL. II.

E

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VEDIC ELEMENTS.

of the Avesta, which in turn is Ahi, the great Vedic Serpent-monster whom Indra prostrated beneath the feet' of the stream he had obstructed-every stream having its deity. He would remind us that the Vedas describe the earliest dragon-slayer, Indra, as 'crushing the head' of his enemy, and that this figure of the god with his heel on a Serpent's head has been familiar to his race from time immemorial. And he would then tell us to read the Rig-Veda, v. 32, and the Mahábhárata, and we would find all the elements of the story told in Genesis.

In the hymn referred to we find a graphic account of how, when Ahi was sleeping on the waters he obstructed, Indra hurled at him his thunderbolt. It says that when Indra had 'annihilated the weapon of that mighty beast from him (Ahi), another, more powerful, conceiving himself one and unmatched, was generated.' This 'wrath-born son,' 'a walker in darkness,' had managed to get hold of the sacred Soma, the plant monopolised by the gods, and having drunk this juice, he lay slumbering and enveloping the world,' and then 'fierce Indra seized upon him,' and having previously discovered 'the vital part of him who thought himself invulnerable,' struck that incarnation of many-formed Ahi, and he was made the lowest of all creatures.'

But one who has perused the philological biography of Ahi already given, vol. i. p. 357, will not suppose that this was the end of him. We must now consider in further detail the great episode of the Mahábhárata, to which reference has been made in other connections.1 During the Deluge the most precious treasure of the gods, the Amrita, the ambrosia that rendered them immortal, was lost, and the poem relates how the Devas and Asuras, otherwise gods

1 See pp. 46 and 255. The episode is in Mahábhárata, I. 15.