became persons in a mystic drama, and Eleusis with its torch-bearer celebrates the wandering, the abduction, and the sorrow.”[83] From this and other notices we may conclude that some simple mystery play was acted or tableaux vivants presented before the eyes of the company. In any case there was nothing elaborate. Sacred objects were doubtless exhibited, and apparently handled by some of the spectators. The formula: “I fasted, I drank the potion, I took it from the chest and having tasted I put it away in the basket and from the basket into the chest”[84] gives a hint of certain sacraments, but we cannot now clearly determine their nature. There was no preaching or exhortation. At most the “things said” were a simple ritual, or explanation of the objects exhibited. There may have been music and singing. On the last day of the festival two jars were filled with water and set up, one to the east and the other to the west of the great hall. Then these were overturned with the words, ὓε κύε, “rain,” “conceive.”[85] Here we have a bit of ancient agricultural ritual, of magic, intended to secure abundant rains and the prosperity of the crops. A similar rite was the solemn exhibition of an ear of grain as a symbol of the initiates’ hope.[86] We inevitably inquire as to what the nature of the teaching of these mysteries was. As a matter of fact, there was probably little if any instruction given. Life beyond the grave was certainly taken for granted. The mystic ritual consisted of only certain simple symbolical ceremonies and representations which each initiate might interpret according to his own impressions. The spectators were put into a certain frame of mind; the celebration touched their emotions and not their intellects. So Aristotle says: “The initiates are not to learn anything, but they are to be affected and put into a certain frame of mind.”[87] This we can understand from the effect of a Christian Mass, which, full of the richest meaning to the devout Catholic, to another may seem of no significance.