"He was a mortal according to the flesh; wise in miraculous works; but, being arrested by an armed force by command of the Chaldean judges, _he suffered a death made bitter with nails and stakes_."[191:2]
In this god of the Phrygians, we again have the myth of the _crucified Saviour of Paganism_.
By referring to Mrs. Jameson's "History of Our Lord in Art,"[191:3] or to illustrations in chapter xl. this work, it will be seen that a common mode of representing a crucifixion was that of a man, tied with cords by the hands and feet, to an upright beam or stake. The _lamb_, spoken of above, which signifies considerable, we shall speak of in its proper place.
_Tammuz_, or _Adonis_, the Syrian and Jewish _Adonai_ (in Hebrew "Our Lord"), was another _virgin-born_ god, who suffered for mankind, and who had the title of _Saviour_. The accounts of his death are conflicting, just as it is with almost all of the so-called Saviours of mankind (_including the Christian Saviour_, as we shall hereafter see) one account, however, makes him a _crucified Saviour_.[191:4]
It is certain, however, that the ancients who honored him as their Lord and Saviour, celebrated, annually, a feast in commemoration of his death. An image, intended as a representation of their Lord, was laid on a bed or bier, and bewailed in mournful ditties--just as the Roman Catholics do at the present day in their "Good Friday" mass.
During this ceremony the priest murmured:
"_Trust ye in your Lord, for the pains which he endured, our salvation have procured._"[191:5]
The Rev. Dr. Parkhurst, in his "Hebrew Lexicon," after referring to what we have just stated above, says:
"I find myself _obliged_ to refer _Tammuz_ to that class of idols which were originally designed to represent the promised Saviour, the Desire of all Nations. His other name, _Adonis_, is almost the very Hebrew _Adoni_ or _Lord_, a well-known title of Christ."[191:6]
_Prometheus_ was a crucified Saviour. He was "an immortal god, a friend of the human race, _who does not shrink even from sacrificing himself for their salvation_."[192:1]
The tragedy of the crucifixion of Prometheus, written by Æschylus, was acted in Athens five hundred years before the Christian Era, and is by many considered to be the most ancient dramatic poem now in existence. The plot was derived from materials even at that time of an infinitely remote antiquity. Nothing was ever so exquisitely calculated to work upon the feelings of the spectators. No author ever displayed greater powers of poetry, with equal strength of judgment, in supporting through the piece the august character of the _Divine Sufferer_. The spectators themselves were unconsciously made a party to the interest of the scene: its hero was their friend, their benefactor, their creator, and their _Saviour_; his wrongs were incurred in their quarrel--_his sorrows were endured for their salvation_; "he was wounded for their transgressions, and bruised for their iniquities; the chastisement of their peace was upon him, and by his stripes they were healed;" "he was oppressed and afflicted, yet he opened not his mouth." The majesty of his silence, whilst the ministers of an offended god were _nailing him by the hands and feet to Mount Caucasus_,[192:2] could be only equaled by the modesty with which he relates, _while hanging with arms extended in the form of a cross_, his services to the human race, which had brought on him that horrible crucifixion.[192:3] "None, save myself," says he, "opposed his (Jove's) will,"