Re-Birthing Rituals in Early Civilizations: A Mini-Essay

     Greek mythology maintains Odysseus, the King of Ithaca, underwent a ten-year voyage home after participating in the Trojan War.[1] During that time, the leader was presumed dead and his wife, Penelope, was expected to remarry. Upon his return, Odysseus reunited with his son, killed his wife's suitors, and reclaimed his title as King.[2] What is often overlooked in multiple reiterations of the tale is the lost king's participation in re-birthing rituals. In ancient Greece and India, men who were believed to have perished in battle would have to be symbolically reborn if they returned to their community following their funeral.[3] In Greece, the process was conducted by ceremoniously passing the man across the lap of a woman (often a member of his immediate family) and preparing him for nursing, an act which involved bathing the individual and wrapping him in swaddling bands.[4] In India, a similar – although more complex – ritual was performed. A tub of water and fat was constructed to resemble a womb and the man was required to spend the night immersed in the liquid while silently resting in the fetal position. In the morning, sacraments normally performed over the bellies of pregnant women were conducted over him and the birthing process began.[5] However, in order for the man to be readmitted into the community, the rite did not stop with his birth: he had to repeat every ceremony he had completed since boyhood, including remarrying his wife if she had not already sought a new suitor.[6]

Works Referenced

Malkin, Irad. The Returns of Odysseus: Colonization and Ethnicity. Berkeley, CA: University of California Press, 1998.

Sorel, Nancy. Ever Since Eve: Personal Reflections on Childbirth. Oxford: Oxford University Press, 1984. 
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[1] Malkin, 1-32.
[2] Malkin, 1-32.
[3] Sorel, 275.
[4] Sorel, 275.
[5] Sorel, 275.
[6] Sorel, 275.

Funeral Vase

$15 - $20 (based on 2017 prices)

Makes one vase

The Dia de Los Muertos portion of 2017’s haunted house required dozens of wreaths and flowers for an intricate funeral scene. While many of these props incorporated eerie elements to amplify the haunt’s creepiness, some, like this vase, were simple pieces used to fill space and add bright flowers to highlight the theme’s use of vibrant colors. If you want a scarier version of this prop, consider the suggestions mentioned in step five.

• One twelve-inch glass vase
• Three gnarled tree sticks
• One 10 oz. cans of interior/exterior, fast-drying spray paint in metallic silver
• One 3” x 4” block of floral craft foam
• Artificial flowers in multiple colors and sizes (e.g. irises, lilies, petunias, poppies)

1. On a newspaper-lined surface in a well-ventilated area, give the vase and sticks an even coat of silver spray paint. I used one coat, but you are free to apply extra coats based on your desired coverage. Although I elected to use silver to give the prop a metallic appearance, you could use other colors to achieve a different look (e.g. flat blacks, grays, and white for a granite). To help the paint adhere to the glass, roughen its surface with sandpaper prior to the painting process.

2. Cut a block of floral craft foam to fit inside the vase. Depending on the depth and width of your chosen container, it might be more beneficial to cut the block in half and stack the pieces to provide needed height for the floral arrangement.

3. Arrange the flowers in the vase. For visual interest, use flowers in varying colors and shapes. Begin with the larger blooms and fill gaps with smaller counterparts. For more permanency, glue the stems to the foam.

4. Complete the arrangement by adding the sticks. You could cluster them together in the center or strategically place them in various spots and at alternating heights.

5. You can enhance the prop’s eerie appearance by adding creepy details: drape Spanish moss on the sticks and the edge of the vase, glue plastic insects to the vase and flowers, or string cobwebs between the sticks.

“The Death of the Old Year” (A Poem)

Originally published in 1842, Alfred, Lord Tennyson’s “The Death of the Old Year” was met with major critical praise, with Philarète Chasles, co-founder of Revue britannique, describing the poem as a work of exceeding beauty.[1] In addition to its eloquence, the poet’s text presents a unique perspective on New Year festivities. The work, structured like a eulogy, places the old year on its deathbed and situates the narrator and other revelers in its presence as they hold its feeble hand and comfort it during the fleeting hours.

Full knee-deep lies the winter snow,
And the winter winds are wearily sighing:
Toll ye the church-bell sad and slow,
And tread softly and speak low,
For the old year lies a-dying.
Old year, you must not die;
You came to us so readily,
You lived with us so steadily,
Old year, you shall not die.

He lieth still: he doth not move:
He will not see the dawn of day.
He hath no other life above.
He gave me a friend, and a true, true-love,
And the New-year will take 'em away.
Old year, you must not go;
So long as you have been with us,
Such joy as you have seen with us,
Old year, you shall not go.

He froth'd his bumpers to the brim;
A jollier year we shall not see.
But tho' his eyes are waxing dim,
And tho' his foes speak ill of him,
He was a friend to me.
Old year, you shall not die;
We did so laugh and cry with you,
I've half a mind to die with you,
Old year, if you must die.

He was full of joke and jest,
But all his merry quips are o'er.
To see him die, across the waste
His son and heir doth ride post-haste,
But he'll be dead before.
Every one for his own.
The night is starry and cold, my friend,
And the New-year blithe and bold, my friend,
Comes up to take his own.

How hard he breathes! over the snow
I heard just now the crowing cock.
The shadows flicker to and fro:
The cricket chirps: the light burns low:
'Tis nearly twelve o'clock.
Shake hands, before you die.
Old year, we'll dearly rue for you:
What is it we can do for you?
Speak out before you die.

His face is growing sharp and thin.
Alack! our friend is gone.
Close up his eyes: tie up his chin:
Step from the corpse, and let him in
That standeth there alone,
And waiteth at the door.
There's a new foot on the floor, my friend,
And a new face at the door, my friend,
A new face at the door.[2]

Works Referenced

Smith, Ann Kennedy. “Tennyson’s French Reception.” The Reception of Alfred Lord Tennyson in Europe. Ed. Leonee Ormond. London: Bloomsbury Academic, 2017. 21-62.

Tennyson, Alfred. “The Death of the Old Year.” The Works of Alfred Lord Tennyson, Poet Laureate. London: Macmillan and Company, 1899. 62.
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[1] Smith, 21-24.
[2] Tennyson, 62.

Creepy Doll Crosses

$25 - $30 (based on 2017 prices)

Makes two crosses

2017’s haunt explored the legend of La Llorona. To expand on the element of prolicide prevalent in the folklore, I drew inspiration from La Isla de las Muñecas and filled the haunt with dolls to represent the specter’s drowned children. Likewise, many of the builds incorporated touches of Catholicism and Mexican culture, namely attributes surrounding Día de los Muertos. For this prop, I incorporated multiple elements from both – crosses, dismembered dolls, and multicolored flowers – to help unify the themes.

• Two twelve-inch vinyl dolls
• Two twenty-four-inch metal crosses
• One 2 oz. bottle of acrylic paint in flat black*
• One 2 oz. bottle of acrylic paint in flat brown*
• One 2 oz. bottle of acrylic paint in flesh tone*
• One 8 oz. bottle of wood glue*
• Two to three yards of light brown twine
• Forty-four artificial gerbera daisies in various colors
  

1. Remove the dolls’ clothing and dismember them. I wanted these props to act as sconces in the haunt, so I hollowed out their eyes and removed the backs of their heads to allow for LED lights. This step, of course, is entirely optional.

2. On a newspaper-lined surface in a well-ventilated area, paint their limbs and heads black. Although I only used one coat, you may want more depending on your desired coverage. Keep in mind, though, that this is the base coat for the crackle paint and much of it will be covered up by the second layer. While I chose black, you can use a different color to tailor the props for your specific needs.

3. Once the paint has dried, use a thick brush to apply a smattering of wood glue to the props. Try not to over think your application (a random pattern produces the best results). Also, it may be easier to work with one limb at a time rather than attempting to glue and paint the entire lot at once. Let the glue sit for a minute to become tacky and then cover the limbs with the flesh-tone paint. Here, too, I only used one coat; however, you may want more. As the glue and paint dry, they will form cracks, making the base coat visible.

4. Once the glue and paint have fully dried, brush a light coat of brown paint onto the props to simulate dirt. During this process, try to focus on areas where dust and grime would normally accumulate: in the lines between fingers and toes, along the creases of elbows and knees, and inside the ears and mouths.

5. Arrange the limbs onto the crosses and glue them in place. You will use the shape of the cross to form the main structure of the body, adding the heads and limbs as accentuations. To give the props further detail, mix and match the pieces, taking parts from each doll and using them to assemble a whole figure.

6. Wrap twine around the limbs and crosses to make it appear as though the dolls have been lashed to them (the glue will hold them in place). Trim the excess and glue the knots to reinforce them.

7. Glue the flowers to the crosses. Their placement and color all depend on your desired appearance for the prop. You can cluster them together to form a body for the dolls or scatter them along the edges of the crosses for a haphazard placement. Likewise, you can select a polychromatic mixture or stick with a single color to emphasize a particular theme. For added bulk, utilize multiple layers.

8. If the crosses did not come with hanging loops, you can create your own with the extra twine, knotting the ends and gluing them for reinforcement.

*You will not use the entire bottle’s content for this project.