Chapter 43. Dionysus.
IN THE PRECEDING chapters we saw that in antiquity the
civilised nations of Western Asia and Egypt pictured to themselves
the changes of the seasons, and particularly the annual growth
and decay of vegetation, as episodes in the life of gods, whose
mournful death and happy resurrection they celebrated with
dramatic rites of alternate lamentation and rejoicing. But if the
celebration was in form dramatic, it was in substance magical; that
is to say, it was intended, on the principles of sympathetic magic,
to ensure the vernal regeneration of plants and the multiplication
of animals, which had seemed to be menaced by the inroads of
winter. In the ancient world, however, such ideas and such rites
were by no means confined to the Oriental peoples of Babylon
and Syria, of Phrygia and Egypt; they were not a product peculiar
to the religious mysticism of the dreamy East, but were shared by
the races of livelier fancy and more mercurial temperament who
inhabited the shores and islands of the Aegean. We need not, with
some enquirers in ancient and modern times, suppose that these
Western peoples borrowed from the older civilisation of the Orient
the conception of the Dying and Reviving God, together with the
solemn ritual, in which that conception was dramatically set forth
before the eyes of the worshippers. More probably the
resemblance which may be traced in this respect between the
religions of the East and West is no more than what we commonly,
though incorrectly, call a fortuitous coincidence, the effect of
similar causes acting alike on the similar constitution of the human
mind in different countries and under different skies. The Greek
had no need to journey into far countries to learn the vicissitudes
of the seasons, to mark the fleeting beauty of the damask rose, the
transient glory of the golden corn, the passing splendour of the
purple grapes. Year by year in his own beautiful land he beheld,
with natural regret, the bright pomp of summer fading into the
gloom and stagnation of winter, and year by year he hailed with
natural delight the outburst of fresh life in spring. Accustomed to
personify the forces of nature, to tinge her cold abstractions with
the warm hues of imagination, to clothe her naked realities with the
gorgeous drapery of a mythic fancy, he fashioned for himself a
train of gods and goddesses, of spirits and elves, out of the
shifting panorama of the seasons, and followed the annual
fluctuations of their fortunes with alternate emotions of
cheerfulness and dejection, of gladness and sorrow, which found
their natural expression in alternate rites of rejoicing and
lamentation, of revelry and mourning. A consideration of some of
the Greek divinities who thus died and rose again from the dead
may furnish us with a series of companion pictures to set side by
side with the sad figures of Adonis, Attis, and Osiris. We begin
with Dionysus. 1
The god Dionysus or Bacchus is best known to us as a
personification of the vine and of the exhilaration produced by the
juice of the grape. His ecstatic worship, characterised by wild
dances, thrilling music, and tipsy excess, appears to have
originated among the rude tribes of Thrace, who were notoriously
addicted to drunkenness. Its mystic doctrines and extravagant rites
were essentially foreign to the clear intelligence and sober
temperament of the Greek race. Yet appealing as it did to that love
of mystery and that proneness to revert to savagery which seem to
be innate in most men, the religion spread like wildfire through
Greece until the god whom Homer hardly deigned to notice had
become the most popular figure of the pantheon. The resemblance
which his story and his ceremonies present to those of Osiris have
led some enquirers both in ancient and modern times to hold that
Dionysus was merely a disguised Osiris, imported directly from
Egypt into Greece. But the great preponderance of evidence
points to his Thracian origin, and the similarity of the two worships
is sufficiently explained by the similarity of the ideas and customs
on which they were founded. 2
While the vine with its clusters was the most characteristic
manifestation of Dionysus, he was also a god of trees in general.
Thus we are told that almost all the Greeks sacrificed to "Dionysus
of the tree." In Boeotia one of his titles was "Dionysus in the tree."
His image was often merely an upright post, without arms, but
draped in a mantle, with a bearded mask to represent the head,
and with leafy boughs projecting from the head or body to show
the nature of the deity. On a vase his rude effigy is depicted
appearing out of a low tree or bush. At Magnesia on the
Maeander an image of Dionysus is said to have been found in a
plane-tree, which had been broken by the wind. He was the
patron of cultivated trees: prayers were offered to him that he
would make the trees grow; and he was especially honoured by
husbandmen, chiefly fruit-growers, who set up an image of him, in
the shape of a natural tree-stump, in their orchards. He was said
to have discovered all tree-fruits, amongst which apples and figs
are particularly mentioned; and he was referred to as
"well-fruited," "he of the green fruit," and "making the fruit to
grow." One of his titles was "teeming" or "bursting" (as of sap or
blossoms); and there was a Flowery Dionysus in Attica and at
Patrae in Achaia. The Athenians sacrificed to him for the
prosperity of the fruits of the land. Amongst the trees particularly
sacred to him, in addition to the vine, was the pine-tree. The
Delphic oracle commanded the Corinthians to worship a particular
pine-tree "equally with the god," so they made two images of
Dionysus out of it, with red faces and gilt bodies. In art a wand,
tipped with a pine-cone, is commonly carried by the god or his
worshippers. Again, the ivy and the fig-tree were especially
associated with him. In the Attic township of Acharnae there was a
Dionysus Ivy; at Lacedaemon there was a Fig Dionysus; and in
Naxos, where figs were called meilicha, there was a Dionysus
Meilichios, the face of whose image was made of fig-wood. 3
Further, there are indications, few but significant, that Dionysus
was conceived as a deity of agriculture and the corn. He is
spoken of as himself doing the work of a husbandman: he is
reported to have been the first to yoke oxen to the plough, which
before had been dragged by hand alone; and some people found
in this tradition the clue to the bovine shape in which, as we shall
see, the god was often supposed to present himself to his
worshippers. Thus guiding the ploughshare and scattering the
seed as he went, Dionysus is said to have eased the labour of the
husbandman. Further, we are told that in the land of the Bisaltae,
a Thracian tribe, there was a great and fair sanctuary of Dionysus,
where at his festival a bright light shone forth at night as a token of
an abundant harvest vouchsafed by the diety; but if the crops
were to fail that year, the mystic light was not seen, darkness
brooded over the sanctuary as at other times. Moreover, among
the emblems of Dionysus was the winnowing-fan, that is the large
open shovel-shaped basket, which down to modern times has
been used by farmers to separate the grain from the chaff by
tossing the corn in the air. This simple agricultural instrument
figured in the mystic rites of Dionysus; indeed the god is
traditionally said to have been placed at birth in a winnowing-fan
as in a cradle: in art he is represented as an infant so cradled;
and from these traditions and representations he derived the
epithet of Liknites, that is, "He of the Winnowing-fan." 4
Like other gods of vegetation Dionysus was believed to have
died a violent death, but to have been brought to life again; and
his sufferings, death, and resurrection were enacted in his sacred
rites. His tragic story is thus told by the poet Nonnus. Zeus in the
form of a serpent visited Persephone, and she bore him Zagreus,
that is, Dionysus, a horned infant. Scarcely was he born, when
the babe mounted the throne of his father Zeus and mimicked the
great god by brandishing the lightning in his tiny hand. But he did
not occupy the throne long; for the treacherous Titans, their faces
whitened with chalk, attacked him with knives while he was
looking at himself in a mirror. For a time he evaded their assaults
by turning himself into various shapes, assuming the likeness
successively of Zeus and Cronus, of a young man, of a lion, a
horse, and a serpent. Finally, in the form of a bull, he was cut to
pieces by the murderous knives of his enemies. His Cretan myth,
as related by Firmicus Maternus, ran thus. He was said to have
been the bastard son of Jupiter, a Cretan king. Going abroad,
Jupiter transferred the throne and sceptre to the youthful
Dionysus, but, knowing that his wife Juno cherished a jealous
dislike of the child, he entrusted Dionysus to the care of guards
upon whose fidelity he believed he could rely. Juno, however,
bribed the guards, and amusing the child with rattles and a
cunningly-wrought looking glass lured him into an ambush, where
her satellites, the Titans, rushed upon him, cut him limb from limb,
boiled his body with various herbs, and ate it. But his sister
Minerva, who had shared in the deed, kept his heart and gave it
to Jupiter on his return, revealing to him the whole history of the
crime. In his rage, Jupiter put the Titans to death by torture, and,
to soothe his grief for the loss of his son, made an image in which
he enclosed the child's heart, and then built a temple in his
honour. In this version a Euhemeristic turn has been given to the
myth by representing Jupiter and Juno (Zeus and Hera) as a king
and queen of Crete. The guards referred to are the mythical
Curetes who danced a war-dance round the infant Dionysus, as
they are said to have done round the infant Zeus. Very
noteworthy is the legend, recorded both by Nonnus and Firmicus,
that in his infancy Dionysus occupied for a short time the throne of
his father Zeus. So Proclus tells us that "Dionysus was the last
king of the gods appointed by Zeus. For his father set him on the
kingly throne, and placed in his hand the sceptre, and made him
king of all the gods of the world." Such traditions point to a custom
of temporarily investing the king's son with the royal dignity as a
preliminary to sacrificing him instead of his father. Pomegranates
were supposed to have sprung from the blood of Dionysus, as
anemones from the blood of Adonis and violets from the blood of
Attis: hence women refrained from eating seeds of pomegranates
at the festival of the Thesmophoria. According to some, the
severed limbs of Dionysus were pieced together, at the command
of Zeus, by Apollo, who buried them on Parnassus. The grave of
Dionysus was shown in the Delphic temple beside a golden statue
of Apollo. However, according to another account, the grave of
Dionysus was at Thebes, where he is said to have been torn in
pieces. Thus far the resurrection of the slain god is not mentioned,
but in other versions of the myth it is variously related. According
to one version, which represented Dionysus as a son of Zeus and
Demeter, his mother pieced together his mangled limbs and made
him young again. In others it is simply said that shortly after his
burial he rose from the dead and ascended up to heaven; or that
Zeus raised him up as he lay mortally wounded; or that Zeus
swallowed the heart of Dionysus and then begat him afresh by
Semele, who in the common legend figures as mother of Dionysus.
Or, again, the heart was pounded up and given in a potion to
Semele, who thereby conceived him. 5
Turning from the myth to the ritual, we find that the Cretans
celebrated a biennial festival at which the passion of Dionysus
was represented in every detail. All that he had done or suffered
in his last moments was enacted before the eyes of his
worshippers, who tore a live bull to pieces with their teeth and
roamed the woods with frantic shouts. In front of them was carried
a casket supposed to contain the sacred heart of Dionysus, and to
the wild music of flutes and cymbals they mimicked the rattles by
which the infant god had been lured to his doom. Where the
resurrection formed part of the myth, it also was acted at the rites,
and it even appears that a general doctrine of resurrection, or at
least of immortality, was inculcated on the worshippers; for
Plutarch, writing to console his wife on the death of their infant
daughter, comforts her with the thought of the immortality of the
soul as taught by tradition and revealed in the mysteries of
Dionysus. A different form of the myth of the death and
resurrection of Dionysus is that he descended into Hades to bring
up his mother Semele from the dead. The local Argive tradition
was that he went down through the Alcyonian lake; and his return
from the lower world, in other words his resurrection, was annually
celebrated on the spot by the Argives, who summoned him from
the water by trumpet blasts, while they threw a lamb into the lake
as an offering to the warder of the dead. Whether this was a spring
festival does not appear, but the Lydians certainly celebrated the
advent of Dionysus in spring; the god was supposed to bring the
season with him. Deities of vegetation, who are believed to pass a
certain portion of each year underground, naturally come to be
regarded as gods of the lower world or of the dead. Both Dionysus
and Osiris were so conceived. 6
A feature in the mythical character of Dionysus, which at first
sight appears inconsistent with his nature as a deity of vegetation,
is that he was often conceived and represented in animal shape,
especially in the form, or at least with the horns, of a bull. Thus he
is spoken of as "cow-born," "bull," "bull-shaped," "bull-faced,"
"bull-browed," "bull-horned," "horn-bearing," "two-horned,"
"horned." He was believed to appear, at least occasionally, as a
bull. His images were often, as at Cyzicus, made in bull shape, or
with bull horns; and he was painted with horns. Types of the
horned Dionysus are found amongst the surviving monuments of
antiquity. On one statuette he appears clad in a bull's hide, the
head, horns, and hoofs hanging down behind. Again, he is
represented as a child with clusters of grapes round his brow, and
a calf's head, with sprouting horns, attached to the back of his
head. On a red-figured vase the god is portrayed as a
calf-headed child seated on a woman's lap. The people of
Cynaetha held a festival of Dionysus in winter, when men, who
had greased their bodies with oil for the occasion, used to pick
out a bull from the herd and carry it to the sanctuary of the god.
Dionysus was supposed to inspire their choice of the particular
bull, which probably represented the deity himself; for at his
festivals he was believed to appear in bull form. The women of Elis
hailed him as a bull, and prayed him to come with his bull's foot.
They sang, "Come hither, Dionysus, to thy holy temple by the sea;
come with the Graces to thy temple, rushing with thy bull's foot, O
goodly bull, O goodly bull!" The Bacchanals of Thrace wore horns
in imitation of their god. According to the myth, it was in the shape
of a bull that he was torn to pieces by the Titans; and the Cretans,
when they acted the sufferings and death of Dionysus, tore a live
bull to pieces with their teeth. Indeed, the rending and devouring
of live bulls and calves appear to have been a regular feature of
the Dionysiac rites. When we consider the practice of portraying
the god as a bull or with some of the features of the animal, the
belief that he appeared in bull form to his worshippers at the
sacred rites, and the legend that in bull form he had been torn in
pieces, we cannot doubt that in rending and devouring a live bull
at his festival the worshippers of Dionysus believed themselves to
be killing the god, eating his flesh, and drinking his blood. 7
Another animal whose form Dionysus assumed was the goat.
One of his names was "Kid." At Athens and at Hermion he was
worshipped under the title of "the one of the Black Goatskin," and
a legend ran that on a certain occasion he had appeared clad in
the skin from which he took the title. In the wine-growing district of
Phlius, where in autumn the plain is still thickly mantled with the
red and golden foliage of the fading vines, there stood of old a
bronze image of a goat, which the husbandmen plastered with
gold-leaf as a means of protecting their vines against blight. The
image probably represented the vine-god himself. To save him
from the wrath of Hera, his father Zeus changed the youthful
Dionysus into a kid; and when the gods fled to Egypt to escape
the fury of Typhon, Dionysus was turned into a goat. Hence when
his worshippers rent in pieces a live goat and devoured it raw,
they must have believed that they were eating the body and blood
of the god. The custom of tearing in pieces the bodies of animals
and of men and then devouring them raw has been practised as a
religious rite by savages in modern times. We need not therefore
dismiss as a fable the testimony of antiquity to the observance of
similar rites among the frenzied worshippers of Bacchus. 8
The custom of killing a god in animal form, which we shall
examine more in detail further on, belongs to a very early stage of
human culture, and is apt in later times to be misunderstood. The
advance of thought tends to strip the old animal and plant gods of
their bestial and vegetable husk, and to leave their human
attributes (which are always the kernel of the conception) as the
final and sole residuum. In other words, animal and plant gods
tend to become purely anthropomorphic. When they have become
wholly or nearly so, the animals and plants which were at first the
deities themselves, still retain a vague and ill-understood
connexion with the anthropomorphic gods who have developed
out of them. The origin of the relationship between the deity and
the animal or plant having been forgotten, various stories are
invented to explain it. These explanations may follow one of two
lines according as they are based on the habitual or on the
exceptional treatment of the sacred animal or plant. The sacred
animal was habitually spared, and only exceptionally slain; and
accordingly the myth might be devised to explain either why it was
spared or why it was killed. Devised for the former purpose, the
myth would tell of some service rendered to the deity by the
animal; devised for the latter purpose, the myth would tell of some
injury inflicted by the animal on the god. The reason given for
sacrificing goats to Dionysus exemplifies a myth of the latter sort.
They were sacrificed to him, it was said, because they injured the
vine. Now the goat, as we have seen, was originally an
embodiment of the god himself. But when the god had divested
himself of his animal character and had become essentially
anthropomorphic, the killing of the goat in his worship came to be
regarded no longer as a slaying of the deity himself, but as a
sacrifice offered to him; and since some reason had to be
assigned why the goat in particular should be sacrificed, it was
alleged that this was a punishment inflicted on the goat for injuring
the vine, the object of the god's especial care. Thus we have the
strange spectacle of a god sacrificed to himself on the ground that
he is his own enemy. And as the deity is supposed to partake of
the victim offered to him, it follows that, when the victim is the
god's old self, the god eats of his own flesh. Hence the goat-god
Dionysus is represented as eating raw goat's blood; and the
bull-god Dionysus is called "eater of bulls." On the analogy of
these instances we may conjecture that wherever a deity is
described as the eater of a particular animal, the animal in
question was originally nothing but the deity himself. Later on we
shall find that some savages propitiate dead bears and whales by
offering them portions of their own bodies. 9
All this, however, does not explain why a deity of vegetation
should appear in animal form. But the consideration of that point
had better be deferred till we have discussed the character and
attributes of Demeter. Meantime it remains to mention that in some
places, instead of an animal, a human being was torn in pieces at
the rites of Dionysus. This was the practice in Chios and Tenedos;
and at Potniae in Boeotia the tradition ran that it had been formerly
the custom to sacrifice to the goat-smiting Dionysus a child, for
whom a goat was afterwards substituted. At Orchomenus, as we
have seen, the human victim was taken from the women of an old
royal family. As the slain bull or goat represented the slain god,
so, we may suppose, the human victim also represented him. 10
The legends of the deaths of Pentheus and Lycurgus, two kings
who are said to have been torn to pieces, the one by Bacchanals,
the other by horses, for their opposition to the rites of Dionysus,
may be, as I have already suggested, distorted reminiscences of a
custom of sacrificing divine kings in the character of Dionysus and
of dispersing the fragments of their broken bodies over the fields
for the purpose of fertilising them. It is probably no mere
coincidence that Dionysus himself is said to have been torn in
pieces at Thebes, the very place where according to legend the
same fate befell king Pentheus at the hands of the frenzied
votaries of the vine-god. 11
However, a tradition of human sacrifice may sometimes have
been a mere misinterpretation of a sacrificial ritual in which an
animal victim was treated as a human being. For example, at
Tenedos the new-born calf sacrificed to Dionysus was shod in
buskins, and the mother cow was tended like a woman in
child-bed. At Rome a shegoat was sacrificed to Vedijovis as if it
were a human victim. Yet on the other hand it is equally possible,
and perhaps more probable, that these curious rites were
themselves mitigations of an older and ruder custom of sacrificing
human beings, and that the later pretence of treating the sacrificial
victims as if they were human beings was merely part of a pious
and merciful fraud, which palmed off on the deity less precious
victims than living men and women. This interpretation is
supported by many undoubted cases in which animals have been
substituted for human victims. 12