WE are now able to suggest an explanation of the proverb “There are many Manii at Aricia.” Certain loaves made in the shape of men were called by the Romans maniae, and it appears that this kind of loaf was especially made at Aricia. Now, Mania, the name of one of these loaves, was also the name of the Mother or Grandmother of Ghosts, to whom woollen effigies of men and women were dedicated at the festival of the Compitalia. These effigies were hung at the doors of all the houses in Rome; one effigy was hung up for every free person in the house, and one effigy, of a different kind, for every slave. The reason was that on this day the ghosts of the dead were believed to be going about, and it was hoped that, either out of good nature or through simple inadvertence, they would carry off the effigies at the door instead of the living people in the house. According to tradition, these woollen figures were substitutes for a former custom of sacrificing human beings. Upon data so fragmentary and uncertain, it is impossible to build with confidence; but it seems worth suggesting that the loaves in human form, which appear to have been baked at Aricia, were sacramental bread, and that in the old days, when the divine King of the Wood was annually slain, loaves were made in his image, like the paste figures of the gods in Mexico, and were eaten sacramentally by his worshippers. The Mexican sacraments in honour of Huitzilopochtli were also accompanied by the sacrifice of human victims. The tradition that the founder of the sacred grove at Aricia was a man named Manius, from whom many Manii were descended, would thus be an etymological myth invented to explain the name maniae as applied to these sacramental loaves. A dim recollection of the original connexion of the loaves with human sacrifices may perhaps be traced in the story that the effigies dedicated to Mania at the Compitalia were substitutes for human victims. The story itself, however, is probably devoid of foundation, since the practice of putting up dummies to divert the attention of ghosts or demons from living people is not uncommon. 1
For example, the Tibetans stand in fear of innumerable earth-demons, all of whom are under the authority of Old Mother Khön-ma. This goddess, who may be compared to the Roman Mania, the Mother or Grandmother of Ghosts, is dressed in golden-yellow robes, holds a golden noose in her hand, and rides on a ram. In order to bar the dwelling-house against the foul fiends, of whom Old Mother Khön-ma is mistress, an elaborate structure somewhat resembling a chandelier is fixed above the door on the outside of the house. It contains a ram’s skull, a variety of precious objects such as gold-leaf, silver, and turquoise, also some dry food, such as rice, wheat, and pulse, and finally images or pictures of a man, a woman, and a house. “The object of these figures of a man, wife, and house is to deceive the demons should they still come in spite of this offering, and to mislead them into the belief that the foregoing pictures are the inmates of the house, so that they may wreak their wrath on these bits of wood and to save the real human occupants.” When all is ready, a priest prays to Old Mother Khön-ma that she would be pleased to accept these dainty offerings and to close the open doors of the earth, in order that the demons may not come forth to infest and injure the household. 2
Again, effigies are often employed as a means of preventing or curing sickness; the demons of disease either mistake the effigies for living people or are persuaded or compelled to enter them, leaving the real men and women well and whole. Thus the Alfoors of Minahassa, in Celebes, will sometimes transport a sick man to another house, while they leave on his bed a dummy made up of a pillow and clothes. This dummy the demon is supposed to mistake for the sick man, who consequently recovers. Cure or prevention of this sort seems to find especial favour with the natives of Borneo. Thus, when an epidemic is raging among them, the Dyaks of the Katoengouw River set up wooden images at their doors in the hope that the demons of the plague may be deluded into carrying off the effigies instead of the people. Among the Oloh Ngadju of Borneo, when a sick man is supposed to be suffering from the assaults of a ghost, puppets of dough or rice-meal are made and thrown under the house as substitutes for the patient, who thus rids himself of the ghost. In certain of the western districts of Borneo if a man is taken suddenly and violently sick, the physician, who in this part of the world is generally an old woman, fashions a wooden image and brings it seven times into contact with the sufferer’s head, while she says: “This image serves to take the place of the sick man; sickness, pass over into the image.” Then, with some rice, salt, and tobacco in a little basket, the substitute is carried to the spot where the evil spirit is supposed to have entered into the man. There it is set upright on the ground, after the physician has invoked the spirit as follows: “O devil, here is an image which stands instead of the sick man. Release the soul of the sick man and plague the image, for it is indeed prettier and better than he.” Batak magicians can conjure the demon of disease out of the patient’s body into an image made out of a banana-tree with a human face and wrapt up in magic herbs; the image is then hurriedly removed and thrown away or buried beyond the boundaries of the village. Sometimes the image, dressed as a man or a woman according to the sex of the patient, is deposited at a cross-road or other thoroughfare, in the hope that some passer-by, seeing it, may start and cry out, “Ah! So-and-So is dead”; for such an exclamation is supposed to delude the demon of disease into a belief that he has accomplished his fell purpose, so he takes himself off and leaves the sufferer to get well. The Mai Darat, a Sakai tribe of the Malay Peninsula, attribute all kinds of diseases to the agency of spirits which they call nyani; fortunately, however, the magician can induce these maleficent beings to come out of the sick person and take up their abode in rude figures of grass, which are hung up outside the houses in little bell-shaped shrines decorated with peeled sticks. During an epidemic of small-pox the Ewe negroes will sometimes clear a space outside of the town, where they erect a number of low mounds and cover them with as many little clay figures as there are people in the place. Pots of food and water are also set out for the refreshment of the spirit of small-pox who, it is hoped, will take the clay figures and spare the living folk; and to make assurance doubly sure the road into the town is barricaded against him. 3
With these examples before us we may surmise that the woollen effigies, which at the festival of the Compitalia might be seen hanging at the doors of all the houses in ancient Rome, were not substitutes for human victims who had formerly been sacrificed at this season, but rather vicarious offerings presented to the Mother or Grandmother of Ghosts, in the hope that on her rounds through the city she would accept or mistake the effigies for the inmates of the house and so spare the living for another year. It is possible that the puppets made of rushes, which in the month of May the pontiffs and Vestal Virgins annually threw into the Tiber from the old Sublician bridge at Rome, had originally the same significance; that is, they may have been designed to purge the city from demoniac influence by diverting the attention of the demons from human beings to the puppets and then toppling the whole uncanny crew, neck and crop, into the river, which would soon sweep them far out to sea. In precisely the same way the natives of Old Calabar used periodically to rid their town of the devils which infested it by luring the unwary demons into a number of lamentable scarecrows, which they afterwards flung into the river. This interpretation of the Roman custom is supported to some extent by the evidence of Plutarch, who speaks of the ceremony as “the greatest of purifications.” 4
