One very curious practice during these celebrations was that of cutting off the hair in honour of the god; women who hesitated to make this sacrifice must offer themselves to strangers, either in the temple, or on the market-place, the gold received as the price of their favours being offered to the goddess. This obligation only lasted for one day.[24] It was also customary for the priests of Adonis to mutilate themselves in imitation of the god, a distinct proof, if one were needed, of the traditional cause of his death.[25] Turning from a consideration of the Adonis ritual, its details, and significance, to an examination of the Grail romances, we find that their _mise-en-scène_ provides a striking series of parallels with the Classical celebrations, parallels, which instead of vanishing, as parallels have occasionally an awkward habit of doing, before closer investigation, rather gain in force the more closely they are studied. Thus the central figure is either a dead knight on a bier (as in the _Gawain_ versions), or a wounded king on a litter; when wounded the injury corresponds with that suffered by Adonis and Attis.[26] Closely connected with the wounding of the king is the destruction which has fallen on the land, which will be removed when the king is healed. The version of _Sone de Nansai_ is here of extreme interest; the position is stated with so much clearness and precision that the conclusion cannot be evaded—we are face to face with the dreaded calamity which it was the aim of the Adonis ritual to avert, the temporary suspension of all the reproductive energies of Nature.[27] While the condition of the king is the cause of general and vociferous lamentation, a special feature, never satisfactorily accounted for, is the presence of a weeping woman, or several weeping women. Thus in the interpolated visit of Gawain to the Grail castle, found in the C group of _Perceval_ MSS., the Grail-bearer weeps piteously, as she does also in _Diû Crône_.[28] In the version of the prose _Lancelot_ Gawain, during the night, sees twelve maidens come to the door of the chamber where the Grail is kept, kneel down, and weep bitterly, in fact behave precisely as did the classical mourners for Adonis—“Elles sanglotent éperdument pendant la nuit.”[29]—behaviour for which the text, as it now stands, provides no shadow of explanation or excuse. The Grail is here the most revered of Christian relics, the dwellers in the castle of Corbenic have all that heart can desire, with the additional prestige of being the guardians of the Grail; if the feature be not a belated survival, which has lost its meaning, it defies any explanation whatsoever.