Connected with the longer period of the feast were the so-called
'Gardens of Adonis,' baskets, or pans, planted with quick growing
seeds, which speedily come to fruition, and as speedily wither. In
the modern survivals of the cult three days form the general term for
the flowering of these gardens.[21]

The most noticeable feature of the ritual was the prominence assigned
to women; "ce sont les femmes qui le pleurent, et qui l'accompagnent a
sa tombe. Elles sanglotent eperdument pendant les nuits,--c'est leur
dieu plus que tout autre, et seules elles veulent pleurer sa mort,
et chanter sa resurrection."[22]

Thus in the tenth century the festival received the Arabic name of
El-Bugat, or 'The Festival of the Weeping Women.'[23]

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-scene 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.