Kitabı oku: «The Christ Myth», sayfa 8

VII
SYMBOLS OF THE MESSIAH: THE LAMB AND THE CROSS

Of a great number of modes of expression and images in the New Testament we know that they originated from the common treasury of the languages of the secret sects of the Orient, having their source above all in Mandaism and the Mithraic religion. Thus “the rock,” “the water,” “the bread,” “the book,” or “the light of life,”²⁴⁷ “the second death,” “the vine,” “the good shepherd,” &c., are simply expressions which in part are known also by the Rigveda and there belong to the ideas grouped about Agni, the God of Fire, Life, and Shepherds. Of the latter, too, as of Jesus, it is said that he loses not a single one of the flock entrusted to his care,²⁴⁸ for Pushan, to whom the hymn in this connection is addressed, is only a form of Agni. In its symbols also the earliest Christianity coincides with Indian thought in such a striking manner that it can scarcely be explained as chance. Thus the horse,²⁴⁹ the hare, and the peacock, which play so great a part in symbolic pictures of the catacombs, point to an ultimately Vedic origin, where they all stand in connection with the nature of Agni. Again, the Fish was already to be found in the Indian Fire Worship and appears to have here originally represented Agni swimming in the water of the clouds, the ocean of heaven.²⁵⁰ In the hymn of the Rigveda itself Agni is often invoked as “the Bull.” This was probably originally a simple nature symbol, the Bull as image of the strength of the God; then the Fire-God and Sun-God, in his capacity of preparer of the Soma cup, was identified with the moon (Manu), whose crescents were taken as the horns of a bull. Later, however, the image of the Bull was driven out by that of the Ram. As early as in the Rigveda there is frequent mention of the God’s “banner of smoke.” Thus he was accustomed to be represented leading a ram with a banner in his hand or simply with a banner in his hand with the picture of a ram upon it, just as Christ is portrayed under the shape of a ram or lamb bearing a banner like a cross.

About the year 800 B.C. the sun, the heavenly Agni, which had hitherto been at the commencement of spring in the constellation of the Bull, entered (as a consequence of the advance of equality between day and night) that of the Ram. Thus it became, according to astrological modes of thought, itself a ram.²⁵¹ While it had formerly, in the shape of a bull, opened the spring and released the world from the power of winter – an image which was still retained in the Mithras Cult – these functions were now transferred to the ram, and this became a symbol of the God and the beast offered in expiatory sacrifices. Now the constellation of the Ram was described by the Persians in a word which could also mean lamb. In other cases also the lamb often took the place of the ram in the sacrificial worship of Nearer Asia; for example, among the Jews, who were accustomed to consume the Paschal lamb at the beginning of the year in spring. This is the explanation of the mystical lamb in the Revelation of John (which is scarcely an original Christian work, but shows signs of a pre-Christian Cult of Jesus²⁵²), being depicted by seven horns or rays in a way which rather implies the idea of a ram.

The fifth chapter of Revelation describes the lamb in its quality of heavenly victim of expiation. No one can open the book with the seven seals, which God holds in his right hand, in which the fate of the world appears to be written, but the lamb alone succeeds in so doing – “In the midst of the four-and-twenty elders who, clad in white garments and with crowns on their heads, sit around the divine throne, and in the midst of the four beasts who sit around it, the lamb, suddenly and without anything happening, stands as though it had been slain, having seven horns and seven eyes which are the seven spirits of God, sent forth into all the earth. And when he had taken the book the four living creatures and the four-and-twenty elders fell down before the lamb, having each one a harp, and golden bowls full of incense, which are the prayers of the saints. And they sing a new song saying, Worthy art thou to take the book and to open the seals thereof, for thou wast slain and didst purchase unto God with thy blood men of every tribe, and tongue, and people, and nation, and madest them to be unto our God a kingdom and priests; and they reign upon the earth.”²⁵³

The scene recalls to mind the self-offering of Agni in the midst of the Gods, Priests, and victims, and the ascension of the God which then took place. Just as the sacrifice of the lamb in Revelation refers to the entrance of the sun into the constellation of the Ram, and the victory of light over wintry darkness and the beginning of a new life which it heralds, so were mystic sacrifices of bulls and rams in the other Sun Cults of Nearer Asia, especially in those of Attis and Mithras, very customary for purposes of expiation or new birth. On these occasions the beast was immolated while standing, and the blood which poured in streams from the victim was looked upon as a means of cleansing and of life-giving. In any case, throughout Revelation the lamb plays the part of the heavenly fire revealing God’s illuminatory nature, unfolding his wisdom and enlightening the world. As it is said of the heavenly Jerusalem: “And the city needed no sun and no moon to shine upon her, for the glory of God illumined her, and her light is the lamb.”²⁵⁴

Again, in the Church of the first century, at Easter, a lamb was solemnly slaughtered upon an altar and its blood collected in a chalice.²⁵⁵ Accordingly in the early days of Christianity the comparison of Christ with the light and the lamb was a very favourite one. Above all the Gospel of John makes the widest use of it. As had already been done in the Vedic Cult of Agni, here too were identified with Christ the creative word of God that had existed before the world – the life, the light, and the lamb. And he was also called “the light of the world” that came to light up the darkness ruling upon the earth, as well as “the Lamb of God, who bore the sins of the world.”²⁵⁶ And indeed the Latin expression for lamb (agnus) also expresses its relation to the ancient Fire-God and its sanctity as a sacrificial animal. For its root is connected with ignis (Scr. agni, the purifying fire, and yagna, victim), and also, according to Festus Pompeius, with the Greek “hagnos,” pure, consecrated, and “hagnistes,” the expiator.²⁵⁷ In this sense “Agnus Dei,” the Lamb of God, as Christ is very frequently called, is in fact nothing else than “Agni Deus,” since Agnus stands in a certain measure as the Latin translation for Agni.²⁵⁸ But in India at the so-called Hulfeast, at the spring equinox, a ram (lamb) used to be solemnly burnt as an expiatory victim representing Agni. The “crucifixion” of Jesus, as will likewise appear, is in a certain sense only the symbol of the burning of the divine lamb, which by its death redeems man from sin. In both cases the lamb refers to the lamb of the Zodiac, the constellation of the Ram, into which the sun enters at the time of the spring equinox, and with which consequently, in accordance with the astrological way of looking at things, it is blended, and which is as though burnt up by it. Thus were completed the victory of the Sun Fire (Agni) over the night of winter and the resurrection of nature to a new life, this cosmic process finding its reflection in the sacrifice upon earth of a lamb (agnus).

During the first century after Christ the lamb in association with light and fire was among the most popular images in ecclesiastical language and symbolism. The heathen Romans used to hang “bullæ” round the necks of their children as amulets. The Christians used consecrated waxen lambs, which were manufactured out of the remains of the Easter candles of the preceding year and distributed during Easter week. The belief then attached itself to these “Agnus Dei’s,” that if they were preserved in a house they gave protection against lightning and fire. Above all the lamps offered a convenient opportunity for symbolising Christ as a light, and thus making use of the image of the lamb.²⁵⁹ The motif of the lamb with the cross is also found very frequently in old Christian art upon glass bowls, sarcophagi, and articles of use of all kinds. And indeed in such cases the cross is sometimes found upon the head or shoulder, sometimes at the side of the lamb or even behind him, while a nimbus in the shape of a disc of sunlight surrounds his head and points to the “light” nature of the lamb. The nimbus, too, is an old Indian symbol, and thus indicates that the whole conception was borrowed from the circle of Indian ideas. Later the lamb is also found upon the cross itself, and indeed at the point of intersection of the two arms surrounded by the disc of sunlight. This seems to point to the Saviour’s death upon the cross, the cross here appearing to be understood as the gibbet. But is it really certain that the cross in the world of Christian thought possessed this significance from the beginning as the instrument by means of which Jesus was put to death?

In the whole of Christendom it passes as a settled matter that Jesus “died upon the cross”; but this has the shape, as it is usually represented among painters, of the so-called Latin cross, in which the horizontal crosspiece is shorter than the vertical beam. On what then does the opinion rest that the cross is the gibbet? The Evangelists themselves give us no information on this point. The Jews described the instrument which they made use of in executions by the expression “wood” or “tree.” Under this description it often occurs in the Greek translation of the Old Testament, in which the gibbet is rendered by xúlon, the same expression being also found in the Gospels. Usually, however, the gibbet is described as staurós (i. e., stake), so much so that staurós and xúlon pass for synonyms. The Latin translation of both these words is crux. By this the Romans understood any apparatus for the execution of men generally, without thinking, however, as a rule of anything else than a stake or gallows (patibulum, stipes) upon which, as Livy tells us, the delinquent was bound with chains or ropes and so delivered over to death.²⁶⁰ That the method of execution in Palestine differed in any way from this is not in any way shown. Among the Jews also the condemned used to be hanged upon a simple stake or beam, and exposed to a lingering death from heat, hunger, and thirst, as well as from the natural tension of his muscles. “To fasten to the cross” (stauroun, afigere cruci) accordingly does not mean either in East or West to crucify in our sense, but at first simply “to torture” or “martyr,” and later “to hang upon a stake or gallows.” And in this connection it appears that the piercing of hands and feet with nails, at least at the time at which the execution of Jesus is supposed to have occurred, was something quite unusual, if it was ever employed at all. The expressions prospassaleuein and proséloun, moreover, usually signify only to “fasten,” “to hang upon a nail,” but not at all “to nail to” in the special sense required.²⁶¹

There is not then the least occasion for assuming that according to original Christian views an exception to this mode of proceeding was made at the execution of Jesus. The only place in the Gospels where there is any mention of the “marks of the nails” (viz., John xx. 25) belongs, as does the whole Gospel, to a relatively later time, and appears, as does so much in John, as a mere strengthening and exaggeration of the original story. For example, Luke xxiv. 39, upon which John is based, does not speak at all of nail-marks, but merely of the marks of the wounds which the condemned must naturally have received as a consequence of being fastened to the stake. Accordingly the idea that Christ was “nailed” to the cross was in the earliest Christianity by no means the ruling one. Ambrose, for example, only speaks of the “cords” of the “cross” and the “ligatures of the passion” (“usque ad crucis laqueos ac retia passionis”),²⁶² and consequently knew nothing of nails having been used in this case.²⁶³ If we consider that the “crucifixion” of Jesus corresponds to the hanging of Attis, Osiris, and so forth, and that the idea of the gibbeted gods of Nearer Asia called forth and fixed the Christian view; if we remember that Haman, the prototype of Jesus at the Purim feast, was also hanged upon a gallows,²⁶⁴ then it becomes doubly improbable that our present ideas on the matter correspond to the views of the early Christians. For although we have no direct picture of the hanging of those Gods, yet we possess representations of the execution of Marsyas by Apollo, in which the God has his rival hauled up on to a tree by ropes round his wrists, which have been bound together.²⁶⁵ But Marsyas, the inventor of the flute, the friend and guide of Cybele in the search for the lost Attis, is no other than the latter himself, or at any rate a personality very near akin to Attis.²⁶⁶ It is not difficult to conclude that Attis too, or the man who represented him in the rites, was hung in the same manner to the stake or tree-trunk and thus put to death. Thus it seems that originally the manner of death of the Jewish Messiah was imagined in the same way, and so the heathens too called the new God in scorn “the Hanged One.”

How, then, did the idea come into existence that Jesus did not die upon a simple gallows, but rather upon wood having the well-known form of the cross? It arose out of a misunderstanding, from considering as the same and mingling two ideas which were originally distinct but described by the same word wood, tree, xúlon, lignum, arbor. This word signifies, as we have already said, on the one hand indeed the stake or gallows (staurós, crux) upon which the criminal was executed; but the same word, corresponding to the Hebrew text of the Old Testament, also referred to the “wood,” “the tree of life,” which was supposed to stand in Paradise. According to the Revelation of John it was to serve as food for the holy in the new Paradise to come,²⁶⁷ and it was honoured by the Christians as the “seal” and guarantee of their salvation under the form of the mystic cross or Tau.

In all private religious associations and secret cults of later antiquity the members made use of a secret sign of recognition or union. This they carried about in the form, in some cases, of wooden, bronze, or silver amulets hung round the neck or concealed beneath the clothes, in others woven in their garments, or tattooed upon the forehead, neck, breast, hands, &c. Among these signs was the cross, and it was usually described under the name “Tau,” after the letter of the old Phœnician alphabet. Such an application of the cross to mystic or religious ends reaches back into grey antiquity. From of old the cross was in use in the cult of the Egyptian Gods, especially of Isis and Horus. It was also found among the Assyrians and Persians, serving, as the pictures show, in part as the mark and ornament of distinguished persons, such as priests and kings, in part also as a religious attribute in the hands of the Gods and their worshippers. According to some it was the sign which Jahwe ordered the Israelites to paint upon their doors with the blood of the lamb when he sent the angel of death to destroy the first-born of their Egyptian oppressors. It played a similar part also in Isaiah²⁶⁸ and Ezekiel,²⁶⁹ when it was a question of separating the god-fearing Israelites from the crowd of other men whom Jahwe purposed to destroy. When the Israelites were pressed in battle by the Amalekites Moses is said to have been helped by Aaron and Hur to stretch out his arms in the shape of that magic sign, and thus to have rendered possible a victory for his people over their enemies.²⁷⁰ Among the other nations of antiquity also – the Greeks, Thracians, the Gaulish Druids, and so on – the Tau was applied in a similar manner to ritualistic and mystic ends. It appears as an ornament on the images of the most different divinities and heroes —e. g., Apollo, Dionysus, Demeter, Diana (the Phœnician Astarte). It is also found upon innumerable Greek, Roman, Egyptian, and Phœnician coins, upon vases, pictures, jewellery, &c. In Alexandria the Christians found it chiselled upon the stone when the temple of Serapis was destroyed, in 391. In this temple Serapis himself was represented of superhuman size, with arms outstretched in the form of a cross, as though embracing the universe. In Rome the Vestal virgins wore the cross upon a ribbon round the neck. Indeed, it even served as an ornament upon the weapons of the Roman legions and upon the standards of the cavalry long before Constantine, by his well-known “vision,” gave occasion for its being expressly introduced under the form of the so-called “Monogram of Christ” into the army as a military sign.²⁷¹ But in the North also we find the cross, not only in the shape of the hooked-cross and the three-armed cross (Triskele), but also in the form of Thor’s hammer, upon runic, stones, weapons, utensils, ornaments, amulets, &c. And when the heathens of the North, as Snorre informs us, marked themselves in the hour of death with a spear, they scratched upon their bodies one of the sacred signs that has been mentioned, in doing which they dedicated themselves to God.²⁷²

That here we have to do with a sun symbol is easily recognised wherever the simple, equally-armed cross appears duplicated with an oblique cross having the same point of intersection with it,, or where it has the shape of a perpendicular which is cut symmetrically by two other lines crossing one another,. And as a matter of fact this symbol of a sun shedding its rays is found upon numberless coins and illustrations, in which it is obvious that a reference to the sun is intended —e. g., upon the coins of the Egyptian Ptolemies, of the city Gods of Rome, of Augustus and the Flavian Cæsars. Here the Sun sign appears to have been adopted as a consequence of the fusing of the Sun Cult of later antiquity with the cult of the Emperor. Much more frequent, however, is the simple Tau, sometimes, indeed, in a shape with equal limbs (Greek cross), +, sometimes with the upright below lengthened (Latin cross), ✝, sometimes upright, sometimes oblique (St. Andrew’s cross), ×, sometimes, again, like the Greek letter Tau, Τ, sometimes in the shape of the so-called mirror of Venus, ♀, in which the ring plainly refers to the sun, sometimes in that of the Svastika, or hooked cross,, sometimes with, sometimes without a circle, and so on. A form made up of the oblique and the ring cross of the Egyptians (so-called Key of the Nile) is the cross known under the description of the “Monogram of Christ,” ☧. According to the legend it was first employed by Constantine on account of his “vision”; and ecclesiastical writers, especially on the Catholic side, try even to-day to support this view, in spite of all facts. For this form of the cross also is clearly of pre-Christian origin, and had its prototype in the ancient Bactrian Labarum cross, as is found, for example, upon the coins of the Bactrian king Hippostratos (about 130 B.C.), of the Egyptian Ptolemies, of Mithridates, upon Attic Tetradrachma, &c.²⁷³

After the careful investigations on this subject which have been undertaken by French savants especially, there can be no doubt that we have before us in this so-called “seal” of the Gods and religious personalities a symbol of the creative force of nature, of the resurrection and the new life, a pledge of divine protection in this world and of everlasting blessedness after. As such it appears upon heathen sarcophagi and tombstones; and on this account in some cases their Christian character is too quickly assumed. Moreover, the cross has been preserved in present-day musical notation as the sign of the raising of a note,²⁷⁴ while its use in the Mysteries and private Cult associations is authority for the statement that precisely in these the thought of a new-birth and resurrection in company with the hero of the association or God of the union stood as a central point of faith. One understands the painful feeling of the Christians at the fact that the private sign used by them and their special sacraments were in use among all the secret cults of antiquity. They could explain this to themselves only as the work of spiteful dæmons and an evil imitation of Christian usages on the heathens’ part.²⁷⁵ In reality the symbol of the cross is much older than Christianity; and, indeed, the sign of the cross is found associated in a special manner with the cult of divinities of nature or life with its alternations of birth, blossoming, and decay, representatives of the fertility and creative force of nature, the Light-Gods and Sun-Gods subjected to death and triumphing victoriously over it. It is only as such, as Gods who died and rose again, that they were divinities of the soul and so of the Mysteries and pious fraternities. The idea of the soul, however, is found everywhere in nature religion considered as being connected with the warmth of life and with fire, just as the sun was honoured as the highest divinity and, so to speak, as the visible manifestation of the world-soul solely on account of its fiery nature. Should not, then, the symbol of life, which in its developed form plainly refers to the sun, in its simplest and original shape point to the fire, this “earliest phenomenon” of all religious worship?

Naturally, indeed, different views can be held as to what the various forms of the cross betoken. Thus, for example, according to Burnouf, Schliemann, and others, the Svastika represents the “fire’s cradle,” i. e., the pith of the wood, from which in oldest times in the point of intersection of the two arms the fire was produced by whirling round an inserted stick.²⁷⁶ On the other hand, according to the view most widespread at the present day, it simply symbolises the twirling movement when making the fire, and on this, too, rests its application as symbol of the sun’s course.²⁷⁷ Hochart considers the cross in the shape of the Greek Tau as the inserted stick (pramantha) of the Vedic priests.²⁷⁸ Very likely, however, this form arose simply through the identity of sound between the Greek and Phœnician letter, the Greeks having interchanged the like-sounding foreign letter with their own Tau. That the cross generally speaking, however, is connected with the Fire Cult, and that both parts of the sign originally contained a reference to the pieces of wood (aranî) of which in most ancient times use was made to produce fire, has been placed beyond doubt by the investigations into the matter. This is confirmed inter alia by the use of the symbol in the worship of the Vestals, the Roman fire-priestesses. This is the explanation of the wide extent of the symbol of the cross. Not only among the peoples of antiquity and in Europe, but also in Asia among the Indians and Chinese, it is in use from ancient times. In America, too, among the Mexicans and Incas, it played a part in worship long before the arrival of Europeans. In the same way is explained the close association of that symbol with the priestly office and kingly dignity, which was itself often connected with that office; similarly the intimate relations between the sign of the cross and the Gods of Fertility, Vegetation, and Seasons. For all of these were, as representatives of the warmth of life and the soul’s breath, in their deepest nature, Fire-Gods special aspects, closer characterisations and connections of that one divinity, of whom the oldest form known to us is in the Vedic Agni, and in whose service the priests of all peoples and times grew to their overwhelming strength.²⁷⁹ Julius Firmicus Maternus was thus quite right when he declared that Mithras, whose followers bore the sign of the cross upon their foreheads and at their communion-meal had the cross, imprinted upon the holy loaf, before their eyes, was an ancient Fire-God.²⁸⁰ But if the cross is the symbol of fire and also of the Mediator God, who brings earth and heaven into connection, then the reason can be found why Plato in the “Timæus” makes the World Soul in the form of a Chi, i. e., an oblique cross, stretched between heaven and earth.²⁸¹ Then, indeed, it is not strange that the Christians of the first century regarded as an inspiration of the devil Plato’s doctrine of the mediatory office of the “double-natured” World Soul, which, according to that philosopher, was formed from a mixture of ideal and sensible matter. It is not strange that a Justin, “the most foolish of the Christian fathers” (Robertson), could actually assert that Plato borrowed the idea, as well as that of a world-conflagration, from – Moses.²⁸²

In the Old Testament also, as was shown above, we meet the cross. Here it served as a mark of recognition and distinction of the God-fearing Israelites from the heathen, and as a magic sign. With a similar significance we meet it again in the New Testament. In the Revelation of John it appears as “the seal (sphragís) of the living God.” By it here, too, are the chosen ones of Israel marked off from the rest of mankind whom judgment has overtaken. At the same time, it is said that this sign is imprinted upon the foreheads of the inhabitants of the true Jerusalem.²⁸³ In the Epistles to the Galatians and Ephesians it is said of the believers in Christ that they were “sealed” before God by the mystic sign upon their foreheads, hands, or feet. The sign thus serves them as a pledge of redemption.²⁸⁴ Again, in the Epistle of Barnabas ix. 8, the cross contained in the letter T is expressly interpreted as (charis) “grace.” Under the form of the Greek Tau the cross appears during the first century of the Christian era, especially among the Christians in Egypt, and according to many was a symbol of Adonis or Tammuz.²⁸⁵ Now since the expressions xúlon and staurós, lignum and crux, were of double significance and denoted both the “seal” of religious salvation and the gibbet, it is possible that the two different significations became of themselves identical in the minds of the faithful.²⁸⁶ This was possible so much the more easily since the biblical account placed by the side of the “tree of life” in Paradise a “tree of death,” the fateful “tree of the knowledge of good and evil,” which was supposed to have been accountable for the death of Adam and so of the whole of mankind, and as such made the comparison possible with the wood upon which Jesus died. We meet again with a special form of the cross in the old Assyrian or Babylonian so-called “mystical tree of mystery,” which was also a symbol of life. Among the Persians it appears to have had some reference to the holy Haoma tree; and here, too, as well as in India, where it was connected with the Bodhi tree, under which Sakyamuni by his devout humility rose to be a Buddha, it was represented in the artificial shape of a many-armed cross.²⁸⁷

One and the same word, then (xúlon, crux), betokens both the gibbet and the pledge of life. Christ himself appears as the true “Tree of Life,” as the original of that miraculous tree the sight of which gave life to the first man in Paradise, which will be the food of the blessed in the world to come, and is represented symbolically by the mystical cross. It was easy to unite the ideas connected with those expressions, to look upon the “seal” of Christ (to semeion tou staurou, signum crucis) as the cross upon which he suffered, and vice-versâ, and to ascribe to the “wood” upon which Jesus is supposed to have died, the shape of the mystic sign, the Tau, or cross. The heathens had been accustomed to regard the stake upon which their Gods were hanged both as the representative of the God in question and the symbol of life and fruitfulness. For example, the stake furnished with four oblique sticks (like a telegraph post), which went by the name of the tatu, tat, dad, or ded and was planted at the feast of Osiris in Egypt, often had a rough picture of the God painted upon it, as also the pine-tree trunk of Attis, in which connection the idea that the seed contained in the cones of the rock-pine from of old had served men as food, while the sap found in them was prepared into an intoxicating drink (Soma), played its part.²⁸⁸ We are reminded also of the Germanic custom of the planting of the may-tree. This was not only a symbol of the Spring God, but also represented the life bestowed by him. In the same way the cross did not appear to the Christians originally as the form of the gibbet upon which God died, but as “the tree of life,” the symbol of the new birth and redemption. Since, however, the word for the mystical sign was identical with the expression for the gibbet, the double meaning led to the gibbet of Jesus being looked upon as the symbol of life and redemption, and the idea of the gibbet was mingled with that of the cross, the shape of the latter being imagined for the former. As Justin in his conversation with the Jew Trypho informs us, the Jews used to run a spit lengthwise through the whole body of the Paschal lamb and another cross-wise through its breast, upon which the forefeet were fastened, so that the two spits made the shape of a cross. This was to them obviously not a symbol of execution but rather the sign of reconcilement with Jahwe and of the new life thereon depending. For the Christians, however, who compared their Saviour with the Paschal lamb, this may have been an additional cause for the above-mentioned commingling of ideas, and this may have strengthened them in the conception that their God died upon the “cross.” The Phrygians, moreover, according to Firmicus Maternus, at the Spring Feast of Attis, used to fasten a ram or lamb at the foot of the fig-tree trunk on which the image of their God was hung.²⁸⁹