[71] “Ægyptiaca numina fere plangoribus gaudent, Græca plerumque choreis, barbara autem strepitu cymbalistarum et tympanistarum et choraularum.” (Apuleius, De Genio Socratis, v. ii. p. 149, Oudend).
[72] The legend of Dionysos and Prosymnos, as it stands in Clemens, could never have found place in an epic poem (Admonit. ad Gent. p. 22, Sylb.). Compare page 11 of the same work, where however he so confounds together Phrygian, Bacchic, and Eleusinian mysteries, that one cannot distinguish them apart.
Demêtrius Phalêreus says about the legends belonging to these ceremonies—Διὸ καὶ τὰ μυστήρια λέγεται ἐν ἀλληγορίαις ~πρὸς ἔκπληξιν καὶ φρίκην~, ὥσπερ ἐν σκότῳ καὶ νυκτί. (De Interpretatione, c. 101).
Herodotus seems to have believed that the worship and ceremonies of Dionysos generally were derived by the Greeks from Egypt, brought over by Kadmus and taught by him to Melampus: and the latter appears in the Hesiodic Catalogue as having cured the daughters of Prœtus of the mental distemper with which they had been smitten by Dionysos for rejecting his ritual. He cured them by introducing the Bacchic dance and fanatical excitement: this mythical incident is the most ancient mention of the Dionysiac solemnities presented in the same character as they bear in Euripidês. It is the general tendency of Herodotus to apply the theory of derivation from Egypt far too extensively to Grecian institutions: the orgies of Dionysos were not originally borrowed from thence, though they may have been much modified by connection with Egypt as well as with Asia. The remarkable mythe composed by Onomakritus respecting the dismemberment of Zagreus was founded upon an Egyptian tale very similar respecting the body of Osiris, who was supposed to be identical with Dionysos:[73] nor was it unsuitable to the reckless fury of the Bacchanals during their state of temporary excitement, which found a still more awful expression in the mythe of Pentheus,—torn in pieces by his own mother Agavê at the head of her companions in the ceremony, as an intruder upon the feminine rites as well as a scoffer at the god.[74] A passage in the Iliad (the authenticity of which has been contested, but even as an interpolation it must be old)[75] also recounts how Lykurgus was struck blind by Zeus for having chased away with a whip “the nurses of the mad Dionysos,” and frightened the god himself into the sea to take refuge in the arms of Thetis: and the fact, that Dionysos is so frequently represented in his mythes as encountering opposition and punishing the refractory, seems to indicate that his worship under its ecstatic form was a late phænomenon and introduced not without difficulty. The mythical Thracian Orpheus was attached as Eponymos to a new sect, who seem to have celebrated the ceremonies of Dionysos with peculiar care, minuteness and fervor, besides observing various rules in respect to food and clothing. It was the opinion of Herodotus, that these rules, as well as the Pythagorean, were borrowed from Egypt. But whether this be the fact or not, the Orphic brotherhood is itself both an evidence, and a cause, of the increased importance of the worship of Dionysos, which indeed is attested by the great dramatic poets of Athens.