[550]. “Die syrische Dreschtafel,” Zeitschr. f. Ethnologie, V. (1873), 295 f.
[551]. Die Adonisklage und das Linoslied, Berlin, 1852, pp. 16 ff.
[552]. K. O. Müller, Gesch. d. Griech. Lit., I. 28, makes Linos the personification of the soft spring slain by heats of summer.
[553]. Quoted by Tylor, Primitive Culture, II. 32.
[554]. Taken from the German rendering of Brugsch.
[555]. Mythologische Forschungen, pp. 16, 55. Herodotus, II. 79, distinctly says that the Maneros song was of the people.
[556]. For the general custom, see Tylor, Primitive Culture, II. 36 ff.; for Germanic relations, Pfannenschmidt, Germanische Erntefeste, pp. 165 ff.
[557]. Grosse, Anfänge der Kunst, p. 234.
[558]. A Tour in Scotland, 3d. ed., Warrington, 1774, p. 99.
[559]. Chaucer, who puts several home touches not known to Boccaccio or Statius into his account of the funeral of Arcite in the “Knight’s Tale,” speaks of the lyche-wake as well as of the wake-pleyes,—the latter, of course, funeral games. Pennant, by the way, in his Second Tour in Scotland (Pinkerton, III. 288), speaking of Islay and its antiquities, says “the late-wakes or funerals ... were attended with sports and dramatic entertainments.... The subject of the drama was historical and preserved by memory.” (No italics in the original.)