Symbolism
As civilization advanced, the deification of sex was no longer frank and open. It came to be carried on by means of symbolism. This symbolism was an effort on the part of its originators to express the worship of the generative attributes under disguise, often understood only by the priests or by those initiated into the religious mysteries. The mysteries so frequently referred to in the religions of antiquity are often some expression of sex worship.
Sexual symbolism was very general at one time and remains of it are found in most of the countries where any form of sex worship has existed. Such remains have been found in Egypt, Greece, Italy, India, China, Japan, and indeed in most countries the early history of which is known to man.
One important kind of symbolism had to do with the form of the object deified. Thus, it appears that certain objects,—particularly upright objects,—stones, mounds, poles, trees, etc., were erected, or used as found in nature, as typifying the male generative organ. Likewise certain round or oval objects, discs, certain fruits and certain natural caves, were worshipped as representing the female generative organ. (The yoni of India.)
We also find that certain qualities of animal or vegetable nature were equally venerated, not because of their form, but because they stood for some quality desirable in the generation of mankind. Thus we find that some animals—the bull because of its strength and aggressive nature, the snake, perhaps because of its form or of its tenacity of life,—were male representatives of phallic significance. Likewise the fish, the dolphin, and a number of other aquatic creatures came to be female representatives. This may be shown over and over again by reference to the antique emblems, coins, and engravings of many nations.
Another later symbolism, which was adopted by certain philosophies, was more obscure but was none the less of distinct sexual significance. Fire is made to represent the male principle, and water, and much connected with it, the female. Thus we have Venus, born of the Sea, and accompanied by numerous fish representations. Fire worship was secondary to the universally found sun worship. The sun is everywhere the male principle, standing for the generative power in nature. At one time the symbolism is broad, and refers to generative nature in general. At another time it refers solely to the human generative organs. Thus, the Greek God Hermes, the God of Fecundity in nature, is at times represented in unmistakable priapic attitudes.
Still another symbolism was often used in India. This was the addition of a number of members to the deity, possibly a number of arms or heads. This was in order to express a number of qualities. Thus the deity was both generator and destroyer, one face showing benevolence and kindness, the other violence and rage. In many of the deities both male and female principles were represented in one,—an Androgyne deity—which was an ideal frequently attempted. The idea that these grotesque deities were merely the expression of eccentricity or caprice on the part of their originator is not to be entertained. Richard Payne Knight has pointed out that they occur almost entirely on national coins and emblems, and so were the expression of an established belief.
We shall refer first to the simpler symbols, those in which an object was deified because of its form.
It is perhaps not remarkable that upright objects should be selected because of their form as the simplest expression of phallic ideas. The simple upright for purposes of sex worship is universally found. An upright conical stone is frequently mentioned. Many of the stone idols or pillars, the worship of which was forbidden by the Bible, come under this group. Likewise, the obelisk, found not only in Egypt, but in modified forms in many other countries as well, embodies the same phallic principle. The usual explanation of the obelisk is that it represented the rays of the sun striking the earth; when we speak of sun worship later, we shall see that this substantiates rather than refutes the phallic interpretation. The mounds of religious significance, found in many countries, were associated with sex worship. The Chinese pagodas are probably of phallic origin. Indeed, there is evidence to show that the spires of our Churches owe their existence to the uprights or obelisks outside the Temples of former ages. A large volume has been written by O’Brien to show that the Round Towers of Ireland (upright towers of prehistoric times) were erected as phallic emblems. Higgins, in the Anacalipsis, has amassed a great wealth of material with similar purport, and he shows that such “temples” as that of Stonehenge and others were also phallic. The stone idols of Mexico and Peru, the ancient pillar stones of Brittany, and in fact all similar upright objects, erected for religious purposes the world over, are placed in this same category. We shall presently give a number of references to show that the May-pole was associated with phallic worship and that it originated at a very remote period.
We shall now quote from some of the authors who have contributed to our knowledge of this form of symbolism, as thereby a clear idea of their meaning may be set forth. These interpretations are not generally advanced, and therefore we have added considerable corroborative evidence which we have been able to obtain from independent sources.
In an Essay on the Assyrian “Grove” and other Emblems, Mr. John Newton sums up the basis of this symbolism as follows: “As civilization advanced, the gross symbols of creative power were cast aside, and priestly ingenuity was taxed to the utmost in inventing a crowd of less obvious emblems, which should represent the ancient ideas in a decorous manner. The old belief was retained, but in a mysterious or sublimated form. As symbols of the male, or active element in creation, the sun, light, fire, a torch, the phallus or lingam, an erect serpent, a tall straight tree, especially the palm or fir or pine, were adopted. Equally useful for symbolism were a tall upright stone (menhir), a cone, a pyramid, a thumb or finger pointed straight, a mask, a rod, a trident, a narrow bottle or amphora, a bow, an arrow, a lance, a horse, a bull, a lion, and many other animals conspicuous for masculine power. As symbols of the female, the passive though fruitful element in creation, the crescent moon, the earth, darkness, water, and its emblem, a triangle with the apex downward, “the yoni”—the shallow vessel or cup for pouring fluid into (cratera), a ring or oval, a lozenge, any narrow cleft, either natural or artificial, an arch or doorway, were employed. In the same category of symbols came a boat or ship, a female date palm bearing fruit, a cow with her calf by her side, a fish, fruits having many seeds, such as the pomegranate, a shell, (concha), a cavern, a garden, a fountain, a bower, a rose, a fig, and other things of suggestive form, etc.
“These two great classes of conventional symbols were often represented in conjunction with each other, and thus symbolized in the highest degree the great source of life, ever originating, ever renewed.... A similar emblem is the lingam standing in the centre of the yoni, the adoration of which is to this day characteristic of the leading dogma of Hindu religion. There is scarcely a temple in India which has not its lingam, and in numerous instances this symbol is the only form under which the god Siva is worshipped.”
In Ancient Sex Worship we read, “As the male genital organs were held in early times to exemplify the actual male creative power, various natural objects were seized upon to express the theistic idea and at the same time point to those points of the human form. Hence, a similitude is recognized in a pillar, a heap of stones, a tree between two rocks, a club between two pine cones, a trident, a thyrsus tied around with two ribbons with the end pendant, a thumb and two fingers. The caduceus again the conspicuous part of the sacred Triad Ashur is symbolized by a single stone placed upright,—the stump of a tree, a block, a tower, a spire, minaret, pole, pine, poplar or pine tree.”
Hargrave Jennings, the author of several books on some aspects of religions of antiquity, among them one on phallicism, deals freely with the phallic principles embodied in these religions. As do many other writers, he identifies fire worship with sex worship, and the following short paragraph shows his conception of their interrelationship, as well as the significance of the upright of antiquity. In the Rosicrucians he says: “Obelisks, spires, minarets, tall towers, upright stones, (menhirs), and architectural perpendiculars of every description, and, generally speaking, all erections conspicuous for height and slimness, were representations of the Sworded or of the Pyramidal Fire. They bespoke, wherever found and in whatever age, the idea of the First Principle or the male generative emblem.”
We might readily cite passages from the writings of a number of other authors but the above paragraphs suffice to set forth the general principle of this symbolism. As stated above, such interpretations have not been generally advanced to explain such objects as sacred pillar stones, obelisks, minarets, etc. It is readily seen how fully these views are substantiated by observations from a number of independent sources.
In a book of Travel[9] in India we are able from an independent source to learn of the symbolism of that country. The traveller gives a description of the caves of Elephanta, near Bombay. These are enormous caves cut in the side of a mountain, for religious purposes to which pilgrimages are made and where the usual festivities are held. The worship of generative attributes is quite apparent. The numerous sculptured female figures, as remarked by the traveller, are all represented with greatly exaggerated breasts, a symbolism which is frequent throughout oriental countries for expressing reproductive attributes.
In an inner chamber is placed the symbol which is held in particular veneration. Here is found an upright conical stone standing within a circular one. The stone is sprinkled with water during the festival season. The writer states that this stone, to the worshippers, represents the male generative organ, and the worship of it is not considered an impropriety. In this instance we feel that the symbolism is very definite, and doubtless the stone pillars in the other temples of India and elsewhere are of the same significance.
A clergyman in the Chinese Review of 1876, under the title Phallic Worship in China, gives an account of the phallicism as he observed it at that time. He states that the male sexual organ is symbolized by a simple mound of earth and is so worshipped. Similarly, the female organ is represented by a mound of different form and is worshipped as the former. The writer states that at times these mounds are built in conjunction. He states this worship is similar to that of Baal of Chaldea, etc., and that probably all have a common origin. It appears to be a fundamental part of the Chinese religion and the symbolism of the Chinese pagoda expresses the same idea. He says that Kheen or Shang-te, the Chinese deities of sex, are also worshipped in the form of serpents, of which the dragon of the Chinese is a modification. This furnishes a concrete instance in which the mound of earth is of phallic significance, and substantiates an interpretation of serpent worship to which we shall presently refer.
Hodder M. Westropp has given us an excellent account of phallic worship and includes in his description the observations of a traveller in Japan at as late periods as 1864 and 1869.
A temple near the ancient capital of Japan was visited by a traveller. In this temple the main object of worship was a large upright, standing alone, and the resemblance to the male generative organ was so striking as to leave no doubt as to what it represented. This upright was worshipped especially by women, who left votive offerings, among them small phalli, elaborately wrought out of wood or other material. The traveller remarked that the worship was most earnest and sincere.
The same traveller observed that in some of the public roads of Japan are small hedged recesses where similar stone pillars are found. These large pillars unquestionably represent the male organ. The writer has observed priests in procession carrying similar huge phalli, painted in color as well. This procession called forth no particular comment and so was probably not unusual. It is stated that this is a part of the ancient “Shinto” religion of Japan and China.
There are frequent references to certain of the gods of the Ancients being represented in priapic attitudes, the phallus being the prominent and most important attribute. Thus Hermes, in Greece, was placed at cross-roads, with phallus prominent. This was comparable to the phallus on Japanese highways. In the festivals of Bacchus high phalli were carried, the male organ being represented about the size of the rest of the body. The Egyptians carried a gilt phallus, 150 cubits high, at the festivals of Osiris. In Syria, at the entrance of the temple at Hieropolis, was placed a human figure with a phallus 120 cubits high. A man mounted this upright twice a year and remained seven days, offering prayers, etc.
In Peru in the Temple of the Sun an upright pillar has been described covered with gold leaf, very similar to those existing elsewhere and to which has been ascribed similar significance.
A number of writers have expressed the belief that the May-pole is an emblem of ancient phallic worship. We know that May-day festivals are of the most remote antiquity. We are indebted to R. P. Knight for a description of what May-day was like about four centuries ago in England. The festival started the evening before. Men and women went out into the woods in search of a tree and brought it back to the village in the early morning. The night was spent in sexual excesses comparable to those of the Roman Bacchanalia. A procession was formed, garlands were added to the May-pole, which was set up in the village square. The Puritans referred to it as an idol, and they did not approve of the festivities. Until comparatively recent years there was a May-pole in one of the squares of London, and Samuel Pepys,[10] writing of his time, speaks of seeing May-poles in the front yards of the prominent citizens of Holland. A festival much the same as this was held in Ancient Rome and also in India. The May-pole properly pierces a disc and thus conforms with the lingam-yoni of India. We also know that the first of May was a favorite time for all nature worship with the ancients. For a number of interesting suggestions the reader is referred to R. P. Knight, Worship of Priapus and Hargrave Jennings, Indian Religions (Page 66).
Tree worship is frequently mentioned in the religions of antiquity. We are told that the mystic power of the mistletoe comes from the fact that it grows on the oak, a once sacred tree. The pine of the North, the palm and the fig tree of the South, were sacred trees at one time. John Newton made a study of tree worship, especially the Ancient Grove Worship of Assyria. He shows that the object of veneration was a male date palm, which represented the Assyrian god Baal. Sex was worshipped under this deity, and it is shown that the tree of the Assyrian grove was a phallic symbol. Palm Sunday appears to be a relic of this worship. In France, until comparatively recent times, there was a festival, “La Fête des Pinnes,” in which palms were carried in procession, and with the palms were carried phalli of bread which had been blessed by the priests.
Richard Payne Knight tells us that Pan was worshipped by the Shepherds under the form of the tall fir, and Bacchus “by sticking up the rude trunk of a tree.” It is shown throughout these pages that sexual attributes were worshipped under both these deities. In reference to other symbols, the writer continues;[11] “The spires and pinnacles with which our churches are decorated come from these ancient symbols; and the weather cocks, with which they are surmounted, though now only employed to show the direction of the wind, were originally emblems of the sun; for the cock is the natural herald of the day, and therefore sacred to the fountain of light. In the symbolical writings of the Chinese the sun is still represented by a cock in the circle; and a modern Parsee would suffer death rather than be guilty of the crime of killing one. It appears on many ancient coins, with some symbol of the passive productive power on the reverse; and in other instances it is united with priapic and other emblems and devices, signifying other attributes combined.”
Dr. Thomas Inman has made a study to show how this phallic symbolism found its way into ancient art, and even into some designs of modern times. Thus, many formal designs are studied in which the upright plays a part; likewise, the oval and the circle receive a similar explanation. The architectural ornaments spoken of as eggs and anchors, eggs and spear heads, the so-called honeysuckle ornament of antiquity, and the origin of some church windows and ornaments, are all studied by this writer, and his text is accompanied by illustrations. Hargrave Jennings has also traced the origin of the symbols of Heraldry, the emblems of Royalty and of some church orders with similar explanations.
We may add that the crux ansata of the Egyptians, the oval standing upon the upright, or letter Tau, may be shown to be a sex symbol, the union of the oval with the upright being of symbolic significance. The crux ansata is found in the hand of most of the Egyptian deities. It is found in the Assyrian temples and throughout the temples of India as well. Prehistoric monuments of Ireland have the same design. Priests are portrayed in adoration of the crux ansata before phallic monuments. This symbol, from which our modern cross is doubtless derived, originated with the religions of antiquity. Much additional evidence could readily be given to illustrate this prehistoric origin. The present Christian symbol affords another example of the adoption by a new religion of the symbols of the old.
Some reflection will show that the origin of many church customs and symbols, and indeed of a great number of obscure customs and usages, may quite properly be traced to the religions and practices of primitive races. Lafcadio Hearn has insisted upon this in the interpretation of the art and customs of the Japanese. He says,[12] “Art in Japan is so intimately associated with religion that any attempt to study it without extensive knowledge of the beliefs which it reflects were mere waste of time. By art I do not mean painting and sculpture but every kind of decoration, and most kinds of pictorial representation—the image of a boy’s kite or a girl’s battledore not less than the design upon a lacquered casquet or enameled vase,—the figure upon a work-man’s trowel not less than the pattern of the girdle of a princess,—the shape of the paper doll or wooden rattle bought for a baby, not less than the forms of those colossal Ni-O, who guard the gateways of the Buddha’s temples,” etc.
In the above pages, we have given an account of the views of a number of writers upon certain forms and symbols, and at the same time we have offered considerable evidence in substantiation from independent sources. These origins, found associated especially in art and religious usages, have not been generally understood. Yet when we reflect upon the fact that many religious customs are of great antiquity; that when once a certain form or custom becomes established, it is well nigh ineffaceable, although subject to great change or disguise throughout the centuries; when we reflect upon these conditions, and realize the fact that sex worship with its accompanying symbolism is found throughout primitive religions, we may then more readily appreciate the entire significance of the above interpretations.
It must, of course, be borne in mind that no one now gives these interpretations to spires, minarets, and to the various monumental symbols of which we have been speaking. We are here dealing exclusively with pre-historic origins, not with present day meanings. The antiquity of certain symbols is truly remarkable. The star and crescent, for example, a well known conventionalized symbol, is found on Assyrian cylinders, doubtless devised many centuries before Christ.
The full force and meaning of these various symbols may be very readily grasped by reference to a number of designs, ancient coins, bas-reliefs, monuments, etc., which have been reproduced in plates and drawings by C. W. King, Thomas Inman, R. P. Knight and others. To these we refer the reader.
A number of plant and flower symbols have a different significance from that which is generally given to them. We are all quite familiar with the grape vine of Bacchus and the association of that deity with grapes. According to R. P. Knight, this too, symbolizes a sexual attribute. Speaking of Bacchus, he writes, “The vine was a favorite symbol of the deity, which seems to have been generally employed to signify the generative or preserving attribute; intoxicating liquors were stimulative, and therefore held to be aphrodisiac. The vase is often employed in its stead to express the same idea and is often accompanied by the same accessory symbol.”
We have often seen in sculptures and paintings, heads of barley associated with the God of the Harvest. This symbol would appear to be self explanatory; yet we are told by more than one writer that it contains another symbolic meaning as well. H. M. Westropp, speaking of this says, “The kites or female organ, as the symbol of the passive or productive power of nature, generally occurs on ancient Roman Monuments as the Concha Veneris, a fig, barley corn, and the letter Delta.” We are told that the grain of barley, because of its form, was a symbol of the vulva.
A great many other female symbols might be mentioned. The pomegranate is constantly seen in the hands of Proserpine. The fir-cone is carried by the Assyrian Baal, and the fig in numerous processions has a similar significance. When we add to these the various forms of tree worship described above, we see to what an extent the products of nature were used as symbols in the worship of sex.
Among flower symbols there is one which recurs constantly throughout the art and mythology of India, Egypt, China, and many other Eastern countries. This is the lotus, of which the Easter lily is the modern representative. The lotus appears in a number of forms in the records of antiquity. We have symbolic pictures of the lion carrying the lotus in its mouth, doubtless a male and female symbol. The deities of India are depicted standing on the lotus, or are spoken of as being “born of the Lotus.” “The Chinese,”[13] says the author of Rites and Ceremonies, “worship a Goddess whom they call Puzza, and of whom their priests give the following account;—they say that ‘three nymphs came down from heaven to wash themselves in the river, but scarce had they gotten in the water before the herb lotus appeared on one of their garments, with its coral fruit upon it. They were surprised to think whence it could proceed; and the nymph upon whose garment it was could not resist the temptation of indulging herself in tasting it. But by thus eating some of it she became pregnant, and was delivered of a boy, whom she brought up, and then returned to heaven. He afterwards became a great man, a conqueror and legislator, and the nymph was afterwards worshipped under the name of Puzza.’” Puzza corresponds to the Indian Buddha.
In Egyptian architecture the lotus is a fundamental form, and indeed it is said to be the main motive of the architecture of that civilization. The capitals of the column are modelled after one form or other of this plant. That of the Doric column is the seed vessel pressed flat. Earlier capitals are simple copies of the bell or seed vessel. The columns consisted of stalks of the plant grouped together. In other cases the leaves are used as ornaments. These orders were copied by the Greeks, and subsequently by western countries.
We may ask ourselves, what is the meaning of this mystic lotus which was held in sufficient veneration to be incorporated in all the temples of religion, as well as in myths of the deity. This, too, refers to the deification of sex. O’Brien, in the Round Towers of Ireland states: “The lotus was the most sacred plant of the Ancients, and typified the two principles of the earth fecundation,—the germ standing for the lingam; the filaments and petals for the yoni.”
R. P. Knight states, “We find it (the lotus) employed in every part of the Northern Hemisphere where symbolical worship does or ever did prevail. The sacred images of the Tartars, Japanese or Indians, are all placed upon it and it is still sacred in Tibet and China. The upper part of the base of the lingam also consists of the flower of it blended with the most distinctive characteristics of the female sex; in which that of the male is placed, in order to complete this mystic symbol of the ancient religion of the Brahmans; who, in their sacred writings, speak of Brahma sitting upon his lotus throne.”
Alexander Wilder,[14] states that the term “Nymphe” and its derivations were used to designate young women, brides, the marriage chamber, the lotus flower, oracular temples and the labiae minores of the human female.
The lotus then, which is found throughout antiquity, in art as well as in religion, was a sexual symbol, representing to the ancients the combination of male and female sexual organs. It is another expression of the sex worship of that period.
Our present conventional symbols of art are very easily traced to ancient symbols of religion. We may expect these to be phallic in their meaning, to just the extent that phallicism was fundamental in the religions where these symbols originated. From the designs of some of the ornamental friezes of Nineveh, we find these principles illustrated. On those bas-reliefs is found the earliest form of art, really the dawn of art upon early civilization. Here is the beginning of certain designs which were destined to be carried to the later civilizations of Greece, Rome and probably of Egypt. These friezes show the pine cone alternating with a modified form of the lotus; the significance of which symbols we have explained. There are also shown animal representations before the sacred tree or grove, a phallic symbol. From these forms and others were designed a number of conventional symbols which were used throughout a much later civilization. (See Nineveh and Its Remains. A. Layard.)
One sees in the religions of antiquity, especially those of India, Assyria, Greece and Egypt, a great number of sacred animal representations. The Bull was sacred to Osiris in Egypt, and one special animal was attended with all the pomp of a god. At one time in Assyria the god was always associated with a sacred animal, often the goat, which was supposed to possess the qualities for which the god was worshipped. Out of this developed the ideal animal creations, of which the animal body and the human head and the winged bulls of Nineveh are examples. The mystic centaurs and satyrs originated from this source. At a later time the whole was humanized, merely the horns, ears or hoofs remaining as relics of the animal form.
We learn that in these religions the animal was not merely worshipped as such. It was a certain quality which was deified. The Assyrian goat attendant upon the deity, was in some bas-reliefs, not only represented in priapic attitudes, but a female sexual symbol was so placed as to signify sexual union. We shall show later that certain male and female symbolic animals were so placed on coins as to symbolically indicate sexual union.
An animal symbol which has probably been of universal use is that of the snake or serpent. Serpent worship has been described in almost every country of which we have records or legends. In Egypt, we find the serpent on the headdress of many of the gods. In Africa the snake is still sacred with many tribes. The worship of the hooded snake was probably carried from India to Egypt. The dragon on the flag and porcelain of China is also a serpent symbol. In Central America were found enormous stone serpents carved in various forms. In Scandinavia divine honors were paid to serpents, and the druids of Britain carried on a similar worship.
Serpent worship has been shown by many writers to be a form of sex worship. It is often phallic, and we are told by Hargrave Jennings that the serpent possibly was added to the male and female symbols to represent desire. Thus, the Hindu women carried the lingam in procession between two serpents; and in the procession of Bacchus the Greeks carried in a casket the phallus, the egg, and a serpent.
The Greeks also had a composite or ideal figure. Rays were added to the head of a serpent thereby bringing it into relation with the sun god Apollo; or the crest or comb of a cock was added with similar meaning.
Many reasons have been offered to explain why the serpent has been used to represent the male generative attribute. Some have called attention to its tenacity of life; others have spoken of its supposed mystic power of regeneration by casting its skin. Again, it seems probable that the form is of symbolic significance. However this may be, we find that this universal serpent worship of primitive man was a form of phallicism so prevalent in former times.
Many other animals may be mentioned. The sacred bull, so frequently met with in Egypt, Assyria and Greece, was a form under which Bacchus was worshipped. R. P. Knight speaks as follows: “The mystic Bacchus, or generative power, was represented under this form, not only upon coins but upon the temples of the Greeks; sometimes simply as a bull; at other times as a human face; and at others entirely human except the horns and ears.”
We would probably be in error to interpret all these animal symbols as exclusively phallic although many were definitely so. Thus, while Hermes was a priapic deity, he was also a deity of the fields and the harvests; so the bull may have been chosen for its strength as well as its sexual attributes.
There are many animals which were symbolic of the female generative power. The cow is frequently so employed. The Hindus have the image of a cow in nearly every temple, the deity corresponding to the Grecian Venus. In the temple of Philae in Egypt, Isis is represented with the horns and ears of a cow joined to a beautiful woman. The cow is still sacred in many parts of Africa. The fish symbol was a very frequent representative of woman, the goddess of the Phoenicians being represented by the head and body of a woman terminating below in a fish. The head of Proserpine is frequently surrounded by dolphins. Indeed, the female principle is regularly shown by some representative of water; fire and water respectively being regarded as male and female principles.
Male and female attributes are often combined on coins for purposes of sexual symbolism. R. P. Knight explains these symbols as follows: “It appears therefore that the asterisk, bull, or minotaur, in the centre of a square or labyrinth equally mean the same as the Indian lingam,—that is the male personification of the productive attribute placed in the female, or heat acting upon humidity. Sometimes the bull is placed between two dolphins, and sometimes upon a dolphin or another fish; and in other instances the goat or the ram occupy the same situation. Which are all different modes of expressing different modifications of the same meaning in symbolical or mystical writings. The female personifications frequently occupy the same place; in which case the male personification is always upon the reverse of the coin, of which numerous instances occur in those of Syracuse, Naples, Tarentum, and other cities.” By the asterisk above mentioned the writer refers to a circle surrounded by rays, a sun symbol of male significance. The square or labyrinth is the lozenge shaped symbol or yoni of India.
The above interpretations throw much light on the obscurity of the animal worship of antiquity. This explains the partly humanized types, and the final appearance of a human deity with only animal horns remaining, as representing the form under which the deity was once worshipped. The satyrs, centaurs, and other animal forms are all part of these same representations and are similarly explained.
Our main object in giving the above account of these various symbols has been to illustrate the wide prevalence of sex worship among primitive races. Another end as well has been served; our study gives us a certain insight into the type of mind which evolves symbolism, and so a few remarks on the use of symbolism as here illustrated are not inappropriate.
We feel that while this symbolism may indicate a high degree of mechanical skill in execution, it does not follow that it expresses either deep or complicated intellectual processes. In fact, we are inclined to regard such symbolism as the indication of a comparatively simple intellect. It appears obscure and involved to us, because we do not understand the symbols. From those which we do understand, the meaning is graphically but simply expressed.
On coins, bas-reliefs and monuments, we find the majority of these simple emblems. If the desire is to express the union of male and female principles, a male symbolic animal is simply placed upon the corresponding female symbol. Thus, a goat or bull may be placed upon the back of a dolphin or other fish. This is a graphic presentation but certainly one of a most simple nature. Sometimes the male symbol is on one side of the coin and then the female is always on the reverse. Unions are made which do not occur in nature, and the representation is not a subtle one.
In India, if there was a desire to express a number of attributes of the deity, another head or face is added or additional arms are added to hold up additional symbols. In Greece, when the desire was to express the androgyne qualities of the deity, a beard was added to the female face, or one-half of the statuette represented the male form, the other the female. Such representations do not indicate great ingenuity, however skillfully they may be executed.