When the procession had made several circuits of the town, the drumming ceased, the priests separated, and mothers began to feel the ultimate terror. Finally a knock came on Urbaal’s door, and a priest appeared to claim Timna’s first-born son. Timna began to scream, but her husband placed his hand over her mouth and the priest nodded his approval, carrying the child from the house. After a while the drumming resumed and cymbals clashed. A trumpet blew and excited mutterings were heard in the town. “We must go,” Urbaal said, taking Timna’s hand, for if the mothers were not present it might be judged that they offered their sons with a grudging spirit.
But Timna, who was not of Makor, could not bring herself to attend the terrible rites. “Let me at least stay hidden,” she begged.
Patiently Urbaal took her to the room of the gods and showed her his smiling Astarte. “Last night,” he assured her, “Baal-of-the-Storm came and made sport with the goddess. I watched them. She’s pregnant now, and you shall be too, I promise you.” He dragged her to the door, pulled her hands away as she tried to hold herself to an entrance pillar. Then he lost his patience and slapped her sharply.
“What are sons for?” he asked. “Stop crying.” But when they were in the street he felt sorry for her and wiped away her tears. Matred, his first wife, who had known this day, said nothing but watched from behind. “Let her know sorrow,” she mumbled to herself.
With an aching pain in his chest Urbaal led his two wives along the twisting street to the temple square, but before he entered that sacred place he took a deep breath, set his shoulders and did his best to quell the panic in his guts. “Let us all be brave,” he whispered, “for many will be watching.” But as luck would have it, the first man he saw in the holy area was the herdsman Amalek, who was also trying to control his anguish, and the two men whose sons were to go that day stared at each other in mute pain. Neither betrayed his fears, and they marched together to the monoliths, lending strength and dignity to the ritual.
Between the palace and the four menhirs dedicated to the gentler gods had been erected a platform of movable stones, under which a huge fire already raged. On the platform stood a stone god of unusual construction: it had two extended arms raised so that from the stone fingertips to the body they formed a wide inclined plane; but above the spot where they joined the torso there was a huge gaping mouth, so that whatever was placed upon the arms was free to roll swiftly downward and plunge into the fire. This was the god Melak, the new protector of Makor.
Slaves heaped fresh fagots under the statue, and when the flames leaped from the god’s mouth two priests grabbed one of the eight boys—a roly-poly infant of nine months—and raised him high in the air. Muttering incantations they approached the outstretched arms, dashed the child upon them and gave him a dreadful shove downward, so that he scraped along the stony arms and plunged into the fire. As the god accepted him with a belch of fire there was a faint cry, then an anguished scream as the child’s mother protested. Urbaal looked quickly to see that the cry had come from one of the wives of Amalek, and with bitter satisfaction he smiled. The priests had noticed this breach of religious solemnity, and Urbaal thought: They will remember that Amalek couldn’t control his wife. This year they will choose me.
Seeking to prevent a similar disgrace in his family, which would bring him into disfavor with the priests and lose him whatever advantage he had gained from Amalek’s misfortune, he gripped Timna’s arm and whispered, “Silence.” But four other boys were consigned to the flames before Timna’s son was raised whimpering into the air and crushed down upon the voracious arms. With tumbling turns, as if he were a little ball, the infant dropped into the flames. Rancid smoke hissed from the red mouth and a cry started from Timna’s throat, but with his free hand Urbaal caught her by the neck and preserved the dignity of sacrifice. He saw that the priests had noticed his action and had smiled approval. More than ever he felt the omens were good that he would be declared the year’s winner.
The last child was a boy of nearly three—his parents had prayed that the years had passed when he might be taken—and he was old enough to understand what was happening, so with frightened eyes he drew back from the priests, and when they lifted him to the god he screamed, trying to hold on to the stone fingers and save himself, but the priests pulled away his small, clutching hands, and with a violent push sent him tumbling into the flaming mouth.
As soon as the boy had disappeared, wailing in fiery smoke, the mood of the temple changed. The god Melak was forgotten; his fires were allowed to die down and his priests turned to other important matters. Drums resumed their beat—this time in livelier rhythms—and trumpets sounded. The people of Makor, satisfied that their new god would protect them, left him smoking by the monoliths and gathered about the steps of the temple itself, where a sense of excitement replaced the terror that had recently held sway. Even the mothers of the eight boys, numb with pain, were moved into new positions, and although they must have longed to flee that place and grieve in silence, they were required as patronesses who had pleased the god with their first-born to remain in locations of honor. They were permitted neither to comment nor to look away, for this was the tradition of their society and would be forever.
When a community like Makor dedicated itself to a god of death like Melak and to a goddess of life like Astarte, the believers entered unknowingly upon a pair of spirals which spun them upward or downward—as one judged the matter—to rites that were bound to become ever more bizarre. For example, during the long centuries when the town confined itself to worshiping the original monolith El, the priests were satisfied if the town praised its god with libations of oil or food set out on wooden trays, for the inherent nature of El was such that he demanded only modest honors. And, when the three additional monoliths were added, their natures required no extraordinary honors; as for the humble baals of the olive grove and oil press, they were satisfied with simple rites: a kiss, a wreath of flowers draped over the pillar, or a genuflection.
But when the god Melak was imported from the coastal cities of the north, a new problem arose. The citizens of Makor were eager to adopt him, partly because his demands upon them were severe, as if this proved his power, and partly because they had grown somewhat contemptuous of their local gods precisely because they were not demanding. Melak, with his fiery celebrations, had not been forced upon the town; the town had sought him out as the fulfillment of a felt need, and the more demanding he became, the more they respected him. No recent logic in Makor was so persuasive as that of the priests after the destruction of the town: “You were content to give damaged sons to Melak and in return he gave you damaged protection.” Equally acceptable was the progression whereby Melak’s appetite had expanded from the blood of a pigeon to the burning of a dead sheep to the immolation of living children, for with each extension of his appetite he became more powerful and therefore more pleasing to the people he tyrannized. What he might next require in way of sacrifice no one could predict, least of all the priests, for when the new demands were announced they would not be something forced down upon the people by the priests: they would be rites insisted upon by the people, who within limits received the kinds of gods they were able to imagine.
Furthermore, the cult of human sacrifice was of itself not abominable, nor did it lead to the brutalization of society: lives were lost which could have been otherwise utilized, but the matter ended in death and excessive numbers were not killed, nor did the rites in which they died contaminate the mind. In fact, there was something grave and stately in the picture of a father willing to sacrifice his first-born son as his ultimate gift for the salvation of a community; and in later years, not far from Makor, one of the world’s great religions would be founded upon the spiritual idealization of such a sacrifice as the central, culminating act of faith. At Makor it was not death that corrupted, but life.
For in the case of Astarte things were different. To begin with, she was a much older deity than fiery Melak and perh
aps even older than El himself, for when the first farmer planted wheat intentionally he bound himself like a slave to the concept of fertility. Without the aid of some god to fructify the earth the farmer was powerless. It was not what he did that insured prosperity, but what the god chose to do; and it required only a moment’s reflection to convince men that the force behind fertility must be feminine. Even the crudest representation of the female form could be recognized as a symbol of fertility: her feet were planted in the soil; her legs carried the receptacle into which the seed must be placed; her swelling womb reflected the growth that occurred in the dark earth; her breasts were the rains that nurtured the fields; her bright smile was the sun that warmed the world; and her flowing hair was the cool breeze that kept the land from parching. Once men took the cultivation of their fields seriously the worship of such a goddess was inevitable. In principle it was a gentle religion, paralleling man’s most profound experience, regeneration through the mystery of sex. The concept of man and goddess working hand in hand in the population of the world and in the feeding of it was one of the notable philosophical discoveries, both ennobling and productive; of only a few religious patterns could this be said.
But ingrained in this enchanting concept was a spiral more swift and sickening than any which operated in the case of Melak, the god of death. The homage that Astarte demanded was so persuasive, so gentle in its simplicity, that all were eager to participate. Once a goddess guaranteed a town’s fertility, certain rites became inevitable: flowers rich with pollen were placed before her, white pigeons were released and then lambs which had finished weaning. Beautiful women who wanted children but were denied them came to seek her intervention, and maidens who were to be wed gathered to dance seductively before her. Her rites were especially attractive because they were conducted by the fairest citizens of the town and the strongest farmers. A spell of beauty encased the goddess: she saw only the largest bunches of grapes, the most golden barley, and when the drums beat for her their rhythms were not martial. The spiral of Astarte was a succession of the loveliest things man knows, except that any sensible man could see where it must end, for once Makor gave itself over to worshiping the principle of fertility it became inevitable that the rites must finally be celebrated in the only logical way. And sooner or later the citizens would insist that this be done publicly. It was neither the priests nor the girls nor the men involved who demanded these demoralizing public rites: it was the people, and the inevitability of this sickening spin was about to be demonstrated anew in the person of Urbaal the farmer, who had just offered his first-born to the flames and who would, in any normal society, have been burdened with grief, as his wife was at that moment.
But in Makor, Urbaal switched easily, almost with joy, from death to life, waiting for the next celebration which had been cunningly arranged by the priests for that purpose. With mounting excitement he listened as the drums beat joyously, accompanied by a flurry of trumpets which brought the music to a vivid crescendo. It was halted by a priest who came from the temple, raising his arms above his head and crying, “After death comes life. After mourning, joy.”
A group of singers, including both old men and young girls, began chanting happily of the seasons through which the year passes. Their words spoke of growth and the fertility of animals which abided in the fields. It was a song as pristine in thought as one could have devised and it summarized in ideal form the basic elements of the fertility rites: man was able to live because the earth and things thereon increased, and anything that spurred this increase was automatically good.
The priest now spoke directly to the parents whose sons had died to protect the town: “It does not matter at what age a male dies to defend his community. The infant of months”—and here he looked at Urbaal and his wife—“is as notable a hero as the general of forty. Men are born to die gloriously and those who do so as children achieve greatness earlier than we who grow older. For them we do not grieve. They have fulfilled the destiny of males and their mothers shall feel pride.” It was an inspiring theory, and to some it brought inspiration, but not to stubborn Timna, who knew instinctively that an evil thing had been done: her son of six months had had before him the great years, and to cut him off for the good of the town was reprehensible. “But in the hour of death, even the death of a hero,” said the priest, “it is obligatory to remember life. To those whose children died to save this town Astarte, goddess of fertility and life, offers new life, new children, new fields and new animals grazing upon those fields. Now, in the hour of death, life is born again!”
The drums exploded and the songs of the singers rose to heaven as two priests from the interior of the temple led forth a priestess clothed in white. It was the moment that Urbaal had been awaiting—for this was the slave girl, tall and most radiantly beautiful. Standing at the edge of the temple steps, she kept her hands folded and her eyes downcast while the priest signaled for the music to cease, whereupon priestly hands began taking away her garments, one by one, allowing them to fall like petals until she stood naked for the approval of the town.
She was an exquisite human being, a perfection of the goddess Astarte, for no man could look at her provocative form without seeing in her the sublime representation of fertility. She was a girl whose purpose was to be loved, to be taken away and made fertile so that she could reproduce her grandeur and bless the earth. Urbaal stared with unbelieving eyes as the naked girl submitted herself to the crowd’s inspection. She was much more beautiful than he had imagined, much more desirable than he had guessed when he watched with such hungry eyes her infrequent appearances. The priests had been right in predicting that if they exhibited their new slave sparingly they could build up to the excitement that now throbbed in the crowd.
“She is Libamah,” the priest in charge announced, “servant of Astarte, and soon in the month of harvest she will go to the man who has this year produced the best, whether it be barley or olives or cattle or any growth of the soil.”
“Let it be me,” Urbaal whispered hoarsely. Clenching his fists he prayed to all his Astartes, “Let it be me.” But his rational-minded second wife, Timna, seeing this extraordinary thing—that a man who had just lost a son could be lusting so quickly after a slave girl—thought that he must be out of his mind. She saw his lips forming the prayer, “Let it be me,” and she felt sorry for him that his sense of life should have been so corrupted.
The priest raised his arms in blessing over the naked girl, then lowered them slowly to indicate that singing was wanted, and the musicians began a hushed chant to which the tall girl started quietly to dance. Keeping her head lowered she moved her arms and knees in seductive rhythms, increasing the tempo of her movements as the drums grew more prominent. Soon her feet were apart, and she was gyrating in taunting patterns until the men of the audience were biting their lips in hunger. Urbaal, watching like a fascinated boy, observed that never did the girl open her eyes. She danced like a remote goddess, being no part of the ceremony herself, but the passion of her virgin body summarized all the earth for him, and he wanted to leap onto the porch now and take her, to open her eyes, to bring her down to this world.
“In the month of harvest,” the priest shouted to the crowd, “she will belong to one of you.” Quickly his assistants covered her tall form with the discarded clothes and whisked her from sight. The crowd groaned, even the women, for they had hoped to see a more complete ceremony; but the steps were not empty for long: four well-known priestesses were led forth—many men had known these four—and they too were stripped naked, revealing far less inviting bodies than Libamah’s, but symbols of fertility nevertheless. With no delay the priests nominated four townsmen to join the priestesses, and the citizens—lucky or unlucky as the case might be—left their wives and leaped up the steps. Each grabbed for the woman designated for him, leading her to the chambers set aside for this periodic rite.
“Through them life will be born again!” the chorus chanted, and the drums echoed
quietly, continuing until some time later when the men reappeared. In the days following the formal announcement that Libamah would be given ritually to the man who produced the finest crop, Urbaal spent most of his hours working at the oil press, often reaching the spot before his foreman had climbed down out of the booth in which he slept. Before he spoke to the man or looked at the results of the previous days’ pressing, Urbaal went to the rock into which the vats had been cut and there, at a knob in the rock, he paid obeisance to the baal of the oil press, thanking him for what he had accomplished yesterday and begging his help for today. He then prayed to the baal of the vats and the baal of the jugs in which the oil was stored, that it be kept sweet. Only then did he consult with the foreman, after which he went to the baal of the grove itself and to the small stone pillar representing the god of the highway along which his jugs would be transported, and to each of these baals he spoke as if the god were a living entity, for in the world that Urbaal knew, he was surrounded by an infinity of gods.
In his present preoccupation Urbaal found much assurance in the existence of these baals, for if he hoped to win the ravishing Libamah he required their assistance. It pleased him to know that he shared the earth with such puissant creatures—a god of the olive press, for example, who could produce a wonderful substance like olive oil: good for eating with bread, good to cook in, for spreading hot on one’s limbs or cool on one’s head, an oil appropriate for anointing gods or for burning at night in clay lamps. It was obvious that only a god could have called forth such a commodity, and the one who had done so should be cherished; such reliance created a psychological assurance that men of a later age would not know. The gods were immediately at hand and could be bargained with; they were friends as long as life lasted, and if perchance they turned against a man it was only because he had done some wrong which he could rectify: