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Rh and lodge with them that night. In the Manks language, the invitation ran thus: 'Brede, Brede, tar gys my thie tar dyn thie ayms noght Foshil jee yn dorrys da Brede, as lhig da Brede e heet staigh.' In English: 'Bridget, Bridget, come to my house, come to my house to-night. Open the door for Bridget, and let Bridget come in.' After these words were repeated, the rushes were strewn on the floor by way of a carpet or bed for St. Bridget. A custom very similar to this was also observed in some of the Out-Isles of the ancient Kingdom of Man." In these Manx and Highland ceremonies it is obvious that St. Bride, or St. Bridget, is an old heathen goddess of fertility, disguised in a threadbare Christian cloak. Probably she is no other than Brigit, the Celtic goddess of fire and apparently of the crops.

Often the marriage of the spirit of vegetation in spring, though not directly represented, is implied by naming the human representative of the spirit, "the Bride," and dressing her in wedding attire. Thus in some villages of Altmark at Whitsuntide, while the boys go about carrying a May-tree or leading a boy enveloped in leaves and flowers, the girls lead about the May Bride, a girl dressed as a bride with a great nosegay in her hair. They go from house to house, the May Bride singing a song in which she asks for a present and tells the inmates of each house that if they give her something they will themselves have something the whole year through; but if they give her nothing they will themselves have nothing. In some parts of Westphalia two girls lead a flower-crowned girl called the Whitsuntide Bride from door to door, singing a song in which they ask for eggs.

  the preceding examination of the spring and summer festivals of Europe we may infer that our rude forefathers personified the powers of vegetation as male and female, and attempted, on the principle of homoeopathic or imitative magic, to quicken the growth of trees and plants by representing the marriage of the sylvan deities in the persons of a King and Queen of May, a Whitsun Bridegroom and Bride, and so forth. Such representations were accordingly no mere symbolic or allegorical dramas, pastoral plays designed to amuse or instruct a rustic audience. They were charms intended to make the woods to grow green, the fresh grass to sprout, the corn to shoot, and the flowers to blow. And it was natural to suppose that the more closely the mock marriage of the leaf-clad or flower-decked mummers aped the real marriage of the woodland sprites, the more effective would be the charm. Accordingly we may assume with a high degree of probability that the profligacy which notoriously attended these ceremonies was at one time not an accidental excess but an essential part of the rites, and that in the opinion of those who performed them the marriage of trees