The Carthaginians worshipped Amilear, and that name comes from the same source as Molech. Both words are pure Hebrew or Punic, if you regard their etymology, and they mean king, or perhaps Ameliar may be queen, that is, may mean Basilia, queen of the Atlantians, and which may refer to Celestis, queen of the Carthaginians. For as among them Bel or Uranus is a god, and Cœlestis a goddess, so Uranus and Basilia may be a god and goddess among them. And from the same source we must look for the name of Milicus, the father-in-law of Hannibal, and of his daughter Imilcis, which is queen, and of Imilco, a Carthaginian general. Melech means king, and Malcha queen, which they pronounce Molicus and Imilcis. Strabo says “that Hercules, worshipped among the Tyrians, was called Melcartos or Melcarthos. But he was the son of Jove Demaruns, and he is the same as the Phœnician and Carthaginian Hercules, who was appeased by human victims as Moloch was. The first part of his name was evidently derived from Melech of the Hebrews, for almost by the same word Hercules was known among the Amathusians. Amathus was a city of Phœnicia, and an island of the Phœnician sea adjoins Cyprus, and in it there is also a city called Amathus. The latter had sacred rites in common with the former. What the words Artos or Arthos in the name mean is not clear. Traces of it, however, are seen in the Punic names Bomilcar and Hamilcar. In Bœotia, which retains many names which Cadmus brought with him from Phœnicia, there is a river and a city called Haliartus, named after the builder and discoverer. In Scolus there is likewise an image of Megalartus held in great esteem. Some think it is the image of the Megalartian Ceres, and derive it from the Greek word artos, which means bread, because she was the goddess of corn.”
“But whatever the god was, his Phœnician origin is evident, for Cadmus, Ismenus, and Thebes were all Phœnician names, and perhaps the Hebrew word Aritz in artes passed into Melicartes, which some read Melicatus. Aritz means very strong, and thus Melicaritz signifies a strong king or tyrant, and the word could readily pass into Melicartos. Thence perhaps in the Persian language Artaioi is heroes, or those who in the olden periods made themselves particularly illustrious, and the word with this idea is present in the names Artoxerxis and Artabasis. Hence in Persian, Artas meant great or illustrious, and Artana kingdoms, and Herodotus says that Artoxerxis means a great warrior.
“Among the ancient Persians and Syrians in customs and languages many things were common to both. The Persians are accounted among our Syrians now and then by European writers, and Babylon is called a Persian city.
“As to the horrid sacrifice, the slaying of children, its origin does not lie concealed if there is any truth in Phœnician annals. There is a tradition among them that Saturn, one of the most ancient kings of Phœnicia, and whom they called Israel in order that he might deliver his kingdom from the greatest peril of an impending war, to render the gods propitious, immolated an only begotten son of himself and wife Anobreta. He was first ornamented with the royal fillets, and then led to the altar built for that purpose, and a wicked posterity, not understanding the case or the circumstances, continued to follow his example.”[27]
Among the many usages derived by the Sardes from their Phœnician ancestors, one of a singular character is still practised by the Oziese, of which Father Bresciani gives the following account:—“Towards the end of March, or the beginning of April, it is the custom for young men and women to agree together to fill the relation of godfathers and godmothers of St. John, compare e comare—such is the phrase—for the ensuing year. At the end of May the proposed comare, having procured a segment of the bark of a cork tree, fashions it in the shape of a vase, and fills it with rich light mould in which are planted some grains of barley or wheat. The vase being placed in the sunshine, well watered and carefully tended, the seed soon germinates, blades spring up, and, making a rapid growth, in the course of twenty-one days—that is, before the eve of St. John—the vase is filled by a spreading and vigorous plant of young corn. It then receives the name of Hermes, or, more commonly, of Su Nennere, from a Sarde word, which possibly has the same signification as the Phœnician name of garden; similar vases being called, in ancient times, the gardens of Adonis.”
Forester in his “Rambles in Corsica and Sardinia,” quoting the above and remarking upon it says:—“On the eve of St. John, the cereal vase, ornamented with ribbons, is exposed on a balcony, decorated with garlands and flags. Formerly, also a little image in female attire, or phallic emblems moulded in clay, such as were exhibited in the feasts of Hermes, were placed among the blades of corn; but these representations have been so severely denounced by the Church, that they are fallen into disuse. The young men flock in crowds to witness the spectacle and attend the maidens who come out to grace the feast. A great fire is lit on the piazza, round which they leap and gambol, the couple who have agreed to be St. John’s compare completing the ceremony in this manner:—The man is placed on one side of the fire, the woman on the other, each holding opposite ends of a stick extended over the burning embers, which they pass rapidly backwards and forwards. This is repeated three times, so that the hand of each party passes thrice through the flames. The union being thus sealed, the comparatico or spiritual alliance is considered perfect. After that, the music strikes up, and the festival is concluded by dances, prolonged to a late hour of the night.”
“Father Bresciani, La Marmora, and other writers, justly consider the Nennere as one of the many relics of the Phœnician colonisation of Sardinia. Every one knows that the sun and moon, under various names such as Isis and Osiris, Adonis and Astarte, were the principal objects of worship in the east from the earliest times; the sun being considered as the vivifying power of universal nature, the moon represented as a female, deriving her light from the sun, as the passive principle of production. The abstruse doctrines on the origin of things, thus shadowed out by the ancient seers, generated the grossest ideas, expressed in the phallic emblems, the lewdness and obscenities mixed up in the popular worship of the deified principles of all existence. Of the prevalence in Sardinia of the Egypto-Phœnician mythology, in times the most remote, no one who has examined the large collection of relics in the Royal Museum at Cagliari, or who consults the plates attached to La Marmora’s work, can entertain any doubt. But it is surprising to find, among the usages of the Sardes at the present day, a very exact representation of the rites of a primitive religion, introduced into the island nearly thirty-five years ago, though it now partakes more of the character of a popular festival than a religious ceremony.
“One of the principal incidents in the Sarde Nennere consists in the consecration of the spiritual relation between the compare and comare, by their thrice crossing hands over the fire in the ceremonies of St. John’s Day. A still more extraordinary vestige of the idolatrous rite of passing through the fire, is said to be still subsisting among the customs of the people of Logudoro, in the neighbourhood of Ozieri, and in other parts of Sardinia.
“Of the worship of Moloch—par excellence the Syrian and Phœnician god of fire—by the ancient Sardes, there is undoubted proof. We find among the prodigious quantity of such relics, collected from all parts of the island, in the Royal Museum at Cagliari, a statuette of this idol, supposed to have been a household god. Its features are appalling: great goggle eyes leer fiercely from their hollow sockets; the broad nostrils seem ready to sniff the fumes of the horrid sacrifice; a wide gaping mouth grins with rabid fury at the supposed victim; dark plumes spring from the forehead, like horns, and expanded wings from each shoulder and knee. The image brandishes a sword with the left hand, holding in the right a small grate, formed of metal bars. It would appear that, this being heated, the wretched victim was placed on it, and then, scorched so that the fumes of the disgusting incense savoured in the nostrils of the rabid idol, it fell upon a brazier of burning coals beneath, where it was consumed. There is another idol in this collection with the same truculent cast of features, but horned, and clasping a bunch of snakes in the right hand, a trident in the left, with serpents twined round its legs. This image has a large orifice in the belly, and flames are issuing between the ribs, so that it would appear that when the brazen image of the idol was thoroughly heated, the unhappy children intended for sacrifice were thrust into the mouth in the navel, and there grilled—savoury morsels, on which the idol seems, from its features, rabidly gloating, while the priests, we are told, endeavoured to drown the cries of the sufferers by shouts and the noise of drums and timbrels—
‘... horrid king, besmeared with blood
Of human sacrifice, and parents’ tears;
Though, for the noise of drums and timbrels loud,
Their children’s cries unheard, that passed through fire
To his grim idol.’—Par. Lost, i. 392.