Adonis. Adonis was the mortal lover of the goddess Aphrodite in Greek mythology. In Ovid's first-century AD telling of the myth, he was conceived after Aphrodite cursed his mother Myrrha to lust after her own father, King Cinyras of Cyprus. Myrrha had sex with her father in complete darkness for nine nights, but he discovered her identity and chased her with a sword. The gods transformed her into a myrrh tree and, in the form of a tree, she gave birth to Adonis. Aphrodite found the infant and gave him to be raised by Persephone, the queen of the Underworld. Adonis grew into an astonishingly handsome young man, causing Aphrodite and Persephone to feud over him, with Zeus eventually decreeing that Adonis would spend one third of the year in the Underworld with Persephone, one third of the year with Aphrodite, and the final third of the year with whomever he chose. Adonis chose to spend his final third of the year with Aphrodite. One day, Adonis was gored by a wild boar during a hunting trip and died in Aphrodite's arms as she wept. His blood mingled with her tears and became the anemone flower. Aphrodite declared the Adonia festival commemorating his tragic death, which was celebrated by women every year in midsummer. During this festival, Greek women would plant gardens of Adonis, small pots containing fast-growing plants, which they would set on top of their houses in the hot sun. The plants would sprout, but soon wither and die. Then the women would mourn the death of Adonis, tearing their clothes and beating their breasts in a public display of grief. The Greeks considered Adonis's cult to be of Oriental origin. Adonis's name comes from a Canaanite word meaning lord and modern scholars consider the story of Aphrodite and Adonis to be derived from the earlier Mesopotamian myth of Inanna and Dumuzid. In late nineteenth and early twentieth century scholarship of religion, Adonis was widely seen as a prime example of the archetypal dying-and-rising god, but the existence of the dying-and-rising god archetype has been largely rejected by modern scholars and its application to Adonis is undermined by the fact that no pre-Christian text ever describes Adonis as rising from the dead and the only possible references to his resurrection are late, ambiguous allusions made by Christian writers. His name is often applied in modern times to handsome youths, of whom he is the archetype. The worship of Aphrodite and Adonis is probably a Greek continuation of the ancient Sumerian worship of Inanna and Dumuzid. This word is related to Adonai, one of the titles used to refer to the God of the Hebrew Bible and still used in Judaism to the present day. The Syrian name for Adonis is Gaus. The cult of Inanna and Dumuzid may have been introduced to the Kingdom of Judah during the reign of King Manasseh. Ezekiel 8:14 mentions Adonis under his earlier East Semitic name Tammuz and describes a group of women mourning Tammuz's death while sitting near the north gate of the Temple in Jerusalem. The earliest known Greek reference to Adonis comes from a fragment of a poem by the Lesbian poet Sappho, in which a chorus of young girls asks Aphrodite what they can do to mourn Adonis's death. Aphrodite replies that they must beat their breasts and tear their tunics. The cult of Adonis has also been described as corresponding to the cult of the Phoenician god Baal. As Walter Burkert explains: Women sit by the gate weeping for Tammuz, or they offer incense to Baal on roof-tops and plant pleasant plants. These are the very features of the Adonis legend: which is celebrated on flat roof-tops on which sherds sown with quickly germinating green salading are placed, Adonis gardens. the climax is loud lamentation for the dead god. The exact date when the worship of Adonis became integrated into Greek culture is still disputed. Walter Burkert questions whether Adonis had not from the very beginning come to Greece along with Aphrodite. In Greece, Burkert concludes, the special function of the Adonis legend is as an opportunity for the unbridled expression of emotion in the strictly circumscribed life of women, in contrast to the rigid order of polis and family with the official women's festivals in honour of Demeter.