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what did it mean? admit that it may have been only the fabulous march in triumph of some forgotten king of mortal birth to the farthest limits of the east. still the fact of its association with dionysus stands as evidence of the connection of human faith with human victory. let it be that dionysus himself was only the apotheosis of victorious humanity. in strict logic this is more than probable. yet why apotheosize conquerors at all? why exalt all heroes to the rank of gods? the reason is, that men are unwilling to draw a limited meaning from any human act. how could they, then, connecting, as they did, all victory with hope,how could they fall short of the most exalted hope, of the most excellent victory; especially in instances like the one now under our notice, where the material circumstances of the conquest as well as of the conquerors life have passed out of remembrance; when for generations men have dwelt upon the dim tradition in their thoughts, and it has had time to grow into its fullest significance,even finding an elaborate expression in sacred writings, in symbolic ritual, and monumental entablature? osiris, who subjected men to his reign of peace, was also held to be the preserver of their souls. even caesar, had he lived two thousand years before, might have been worshipped as saviour. all extended power, measured by duration in time or vast areas of space, becomes an incarnate presence in the world, which awes to the dust all who resist it, and exalts with its own glory all who trust in it. achtheia mourns all failures; and here it is that the human touches the earth. but they who conquer, these are our saviours; they shall follow in the train of dionysus; they shall lift us to the heavens, and sanctify in our remembrance the sunday of palms! but dionysus not only looks back with triumphant remembrance to ancient conquest, but has his victories in the present, also, and in the great hereafter. for triumph was connected with all dionysiac symbols, hints of which are preserved to us in representations found upon ancient vases: such, for instance, as the figure of victory surmounting the heads of the ivy-crowned bacchantes in their mystic orgies; or the winged serpents which bear the chariot of the victor-god,as if in this connection even the reptiles, whose very name (_serpentes_) is a synonyme for what creeps, are to be made the ministrants of his conquering flight. the tombs of the ancients from egypt to etruria are full of these symbols. many of them have become dim as to their meaning by oblivious time; but enough is evident to indicate the prominence of hope in ancient faith. this appears in the very multiplicity of dionysiac symbols as compared with any other class. thus, out of sixty-six vases at polignano, all but one or two were found to be dionysiac in their symbolism. and this instance stands for many others. the _character_ of the scenes represented indicates the same prominence of hope, sometimes as connected with the relations of life,as, for example, the representation, found upon a sepulchral cone, of a husband and wife uniting with each other in prayer to the sun. frequent inscriptionssuch as those in which the deceased is carefully committed to osiris, the egyptian dionysuspoint in the same direction; as also the genii who presided over the embalmed dead, a belief in whose existence surely indicated a hopeful trust in some divine care which would not leave them even in the grave. statues of osiris are found among the ruins of palaces and temples; but it was in the monuments associated with death that they dwelt most upon his name and expressed their faith in most frequent incarnation and inscription. the epic movement of eleusinian triumph was in its range as unlimited as the movement of sorrow. each found expression in sculptured monument,the one hinting of flight into darkness, and the other of resurrection into light; each in its cycle inclosed the world; each widened into the invisible; as the wail of achtheia reached the heart of hades, so the paean of dionysus was lost in the heavens. but in what manner did this dionysus make his _avatar_ in the world? for he must needs have first touched the earth as human child, ere he could be worshipped as divine saviour. latona must leave the heavens and come to delos ere she can give birth to apollo; for, in order to slay the serpent, the child must himself be earth-born,indeed, according to one representation, he slew the python out of his mothers arms. neither the serpent of genesis nor the dragon of revelation can be conquered save by the seed of the woman. from this necessity of his earthly birth, the connection of the saviour-child with the _mater dolorosa_ becomes universal,finding its counterpart in the assyrian venus with babe in arm, in isis suckling the child horus, and even in the scandinavian disa at upsal accompanied by an infant. it is from swaddling-clothes, as the nursling of our lady, and out of the sorrowful discipline of earth, that the child grows to be the saviour, both for our lady and for all her children. hence, according to the tradition, dionysus was born of semele of the royal house at thebes; and jove was his father. a little before his time of birth,so the story goes,jove visited semele, at her own rash request, in all the majesty of his presence, with thunderings and lightnings, so that the bower of the virgin mother was laid in ruins, and she herself, unable to stand before the revealed god, was consumed as by fire. but jove out of her ashes perfected the birth of his son; whence he was called the child of fire, ([greek: puripais],)which epithet, as well as this part of the fable, probably points to his connection with the oriental symbolism of fire in the worship of the sun. and it is worth while, in connection with this, to notice the gradations by which in the ancient mind everything ascended from the gross material to a refined spirituality. as in nature there was forever going on a subtilizing process, so that from the root springs lighter the green stalk, from thence the leaves more aëry, last the bright consummate flower spirits odorous breathes, and as, in their philosophy, from the earth, as the principle of nature, they ascended through the more subtile elements of water, air, and fire, to a spiritual conception of the universe; so, as regards their faith, its highest incarnation was through the symbolism of fire, as representative of that central power under whose influence all things arose through endless grades of exaltation to himself,so that the earthly rose into the heavenly, and all that was human became divine. the enthusiasm of victory and exaltation in the worship of dionysus tended of course to connect with him whatsoever was joyous and jubilant in life. he was the god of all joy. hence the fable which makes him the author and giver of wine to men. wherever he goes, he is surrounded by the clustering vine and ivy, hinting of his summer glory and of his kingly crown. thus, the line of his conquests leads through the richest fields of southern asia,through the incense-breathing arabia, across the euphrates and the tigris, and through the flowery vales of cashmere to the indian garden of the world: and as from sea to sea he establishes his reign by bloodless victories, he is attended by fauns and satyrs and the jovial pan; wine and honey are his gifts; and all the earth is glad in his gracious presence. hence he was ever associated with oriental luxuriance, and was worshipped even among the greeks with a large infusion of oriental extravagance, though tempered by the more subdued mood of the west. but that depth of grecian genius, which made it possible for greece alone of all ancient nations to develop tragedy to anything like perfection, insured also even in the most impassioned life the most profound solemnity. into the praises of apollo, joyous as they were,where, to the exultant anthem was joined the evolution of the dance beneath the vaulted sky, as if in his very presence,for the sun was his shechinah,there enters an element of solemnity, which, in certain connections, is almost overwhelming: as, for instance, in the first book of the iliad,where, after the pestilence which has sent up an endless series of funeral pyres,after the strife of heroes and the return of chryseïs to her father, the priest of the angry apollo,after the feast and the libation from the wine-crowned cups, there follow the _apotropoea_, and the grecian youths unite in the song and the dance, which last, both the joyous paean and the tread of exultant feet, until the setting sun. i know of nothing which to an equal degree suggests this element of solemnity, that is almost awe-inspiring from its depth, short of the jubilant procession of saints, in the apocalypse, with palms in their hands. this element is also evident in the worship of dionysus,so that the inspiration of joy must not be taken for the frenzy of intoxication, though the symbol of the vine has often led to just this misapprehension. besides, dionysus must not be too closely identified with the bacchanalian orgies, which were only a perversion of rites which retained their original purity in the eleusinia: and this latter institution, it must be remembered, was from the first under the control of the state,and that state at the time the most refined on the face of the earth. surely, it is not more difficult to give a pure and spiritual significance to a vintage-festival or to the symbolic wine-cup of dionysus, than in the rhapsodies of a persian or hindu poet to symbolize the attraction between the divine goodness and the human soul by the loves of laili and majnum, or of crishna and radha,to say nothing of the exalted symbolism attached to the love of solomon for his egyptian princess, and sanctioned by the most delicate taste. indeed, is it not true that whatsoever is most sensuous in connection with human joy, and at the same time pure, is the very flower of life, and therefore the most consummate revelation of holiness? nothing in nature is so intensely solemn as her summer, in its infinite fulness of growth and the unmeasured altitude of its heavens. and within the range of human associations which shall we select as revealing the most profound solemnity? surely not the sight of the funeral train, nor of the urn crowned with cypress,of nothing which is associated with death or weakness in any shape;but the sight of gayest festivals, or the paraphernalia of palace-halls,the vision of some youthful maiden of transcendent beauty crowned with an orange-wreath, within hearing of marriage-bells and the whisperings of holy love,or the aspirations of the dance and the endless breathings of triumphant music. these are they which come up most prominently in remembrance,even as the whole race, in its remembrances, instinctively looks back to the orient,to some homeric island of the morning, where are the palaces, the choral dances, and the risings of the sun.[e] and as memory has the power to purify the past of all material grossness, faith has the same power as regards the present hence, the closest connection of religious faith with the most joyous festivals, with a finely moulded venus or apollo, with an ephesian temple or a splendid cathedral, or the sweetest symphonies of music, does not mar, but reveals its natural beauty and strength. [footnote e: _odyssey_, xii., 4.] but most certainly the greeks gave a profound spiritual meaning to the eleusinia, as also to the mystic connection of demeter with dionysus

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