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Afterwards when much time had elapsed, they learnt from Egypt the names of the gods, all except Dionysos, for his name they learnt long afterwards; and after a time the Pelasgians consulted the Oracle at Dodona about the names, for this prophetic seat is accounted to be the most ancient of the Oracles which are among the Hellenes, and at that time it was the only one.
Of the legends, many are far from answering to their reputed Oriental source; their barbarism and indelicacy represent the state of Europe. The outrage of Kronos on his father Uranos speaks of the savagism of the times; the story of Dionysos tells of man-stealing and piracy; the rapes of Europa and Helen, of the abduction of women.
In the Greek Bacchic religious processions huge phalli were carried in a chariot drawn by bulls, and surrounded by women and girls singing songs of praise. Phallic worship was also associated with the cults of Dionysos and Eleusis. It is met with among the ancient Mexicans and Peruvians, and also among the North American tribes.
It taught, too this master poetry of the senses to enjoy wine, to use the drink of Dionysos not to slake the thirst, but to colour, with an intoxication now soft, now strong, the most diverse emotions: the sadness of memories, the tendernesses of friendship, the transports of love, the warmth of the quiet house, when without the furious storm and the bitter cold stiffen the universe of nature.
Then for Dionysos on the eve of the festival each one kills a pig by cutting its throat before his own doors, and after that he gives the pig to the swineherd who sold it to him, to carry away again; and the rest of the feast of Dionysos is celebrated by the Egyptians in the same way as by the Hellenes in almost all things except choral dances, but instead of the phallos they have invented another contrivance, namely figures of about a cubit in height worked by strings, which women carry about the villages, with the privy member made to move and not much less in size than the rest of the body: and a flute goes before and they follow singing the praises of Dionysos.
Selden observes that whether the gods be called Osiris, or Omphis, or Nilus, or any other name, they all center in the sun. According to Diodorus Siculus, it was the belief of the ancients that Dionysos, Osiris, Serapis, Pan, Jupiter and Pluto were all one. They were, the sun. Max Muller says that a very low race in India named the Santhals call the sun Chandro, which means "bright."
Condivi says that this gentleman, "a man of fine intelligence, employed him to execute in his own house a marble Bacchus, ten palms in height, the form and aspect of which correspond in all parts to the meaning of ancient authors. The face of the youth is jocund, the eyes wandering and wanton, as is the wont with those who are too much addicted to a taste for wine. In his right hand he holds a cup, lifting it to drink, and gazing at it like one who takes delight in that liquor, of which he was the first discoverer. For this reason, too, the sculptor has wreathed his head with vine-tendrils. On his left arm hangs a tiger-skin, the beast dedicated to Bacchus, as being very partial to the grape. Here the artist chose rather to introduce the skin than the animal itself, in order to hint that sensual indulgence in the pleasure of the grape-juice leads at last to loss of life. With the hand of this arm he holds a bunch of grapes, which a little satyr, crouched below him, is eating on the sly with glad and eager gestures. The child may seem to be seven years, the Bacchus eighteen of age." This description is comparatively correct, except that Condivi is obviously mistaken when he supposes that Michelangelo's young Bacchus faithfully embodies the Greek spirit. The Greeks never forgot, in all their representations of Dionysos, that he was a mystic and enthusiastic deity. Joyous, voluptuous, androgynous, he yet remains the god who brought strange gifts and orgiastic rites to men. His followers, Silenus, Bacchantes, Fauns, exhibit, in their self-abandonment to sensual joy, the operation of his genius. The deity descends to join their revels from his clear Olympian ether, but he is not troubled by the fumes of intoxication. Michelangelo has altered this conception. Bacchus, with him, is a terrestrial young man, upon the verge of toppling over into drunkenness. The value of the work is its realism. The attitude could not be sustained in actual life for a moment without either the goblet spilling its liquor or the body reeling side-ways. Not only are the eyes wavering and wanton, but the muscles of the mouth have relaxed into a tipsy smile; and, instead of the tiger-skin being suspended from the left arm, it has slipped down, and is only kept from falling by the loose grasp of the trembling hand. Nothing, again, could be less godlike than the face of Bacchus. It is the face of a not remarkably good-looking model, and the head is too small both for the body and the heavy crown of leaves. As a study of incipient intoxication, when the whole person is disturbed by drink, but human dignity has not yet yielded to a bestial impulse, this statue proves the energy of Michelangelo's imagination. The physical beauty of his adolescent model in the limbs and body redeems the grossness of the motive by the inalienable charm of health and carnal comeliness. Finally, the technical merits of the work cannot too strongly be insisted on. The modelling of the thorax, the exquisite roundness and fleshiness of the thighs and arms and belly, the smooth skin-surface expressed throughout in marble, will excite admiration in all who are capable of appreciating this aspect of the statuary's art. Michelangelo produced nothing more finished in execution, if we except the Piet
Moral Improvement through Precept and Example The ancients believed that great poetry produces moral improvement in the reader. Before the judgment seat of Dionysos, as is recorded in The Frogs of Aristophanes, Aeschylus and Euripides engage in an interesting and instructive dispute. "Come," says Aeschylus, "tell me what are the points for which we praise a noble poet."
He had seen a young Titan of music, drunken with life and fire and joy, dancing and reeling and laughing on the top of the world, and with fingers amid the stars, sending suns and constellations crashing. He had caught sight of the old and eternally youthful figure of Indian Dionysos.
He had come in as a new spectator; surrendering Dave's crutch, borrowed as needless to its owner, in compliance with a strange fascination, now waning in charm as the working model asserted its powers. Dionysos had deserted Ariadne again. "This is me," said Granny Marrable. "And this is Maisie."