noted the very archaic character of certain features in his mysteries. Doubtless these things are older than the bright anthropomorphic Dionysus of the poets—the beautiful young deity, vine-crowned, who rises from the sea to comfort Ariadne in Tintoretto's immortal picture. At his highest, at his best, Dionysus is the spirit not only of Bacchic revel and of dramatic poetry, but of youth, health, and gaiety. Even in this form he retains something tricksy and enigmatic, the survival perhaps of earlier ideas; or, again, it may be the result of a more or less conscious symbolism. The god of the vine and of the juice of the vine maketh glad the heart of man; but he also inspires the kind of metamorphosis which the popular speech alludes to when a person is said to be "disguised in drink." For this reason, perhaps, he is now represented in art as a grave and bearded man, now as a manly youth, and again as an effeminate lad of girlish loveliness. The bearded type of the god is apparently the earlier; the girlish type may possibly be the result merely of decadent art, and its tendency to a sexless or bisexual prettiness.[1]
Turning from the ritual and local cults of the god, which, as has been shown, probably retain the earlier elements in his composite nature, and looking at his legend in the national literature of Greece, we find little that throws any light on the origin and primal conception of his character. In the Iliad Dionysus is not one of the great gods whose politics sways Olympus, and whose diplomatic or martial interference is exercised in the leaguer of the Achæans or in the citadel
- ↑ See Thræmer in Roscher, pp. 1090–1143.
