§ 5
Further than this the Thracians—who never quite outgrew a sort of semi-animated torpor of the intellect—could not go on the way marked out for them. The seed of a mystical form of religion that existed in the ecstatic dance-orgies of Dionysos-worship never came to fruition. We never feel with them that we are being taken beyond the region of vague unconscious emotion; it is but a passing illumination that for a moment of wild excitement reveals the near presence of overwhelming spirit-forces.
Not until the flames of such ecstatic worship were fed and nourished by a people of more independent and developed spiritual life, could fitful suggestions be welded into deep and [266] enduring thought. Reflexion upon the nature of the world and of God, the changing and deceptive flow of appearance with the indestructible One Reality behind it; the conception of a divinity that is One, a single light that, divided into a thousand rays and reflected from everything that is, achieves its unity again in the soul of man; such thoughts as these, allied to the dim half-conscious impulse of an enthusiastic dance-worship, might allow the pure waters of the stream of mysticism to run clear at last, freed from the turbid and unsatisfying enthusiasm of popular religious practices.
Thus, for example, among the stern and rigid-minded peoples of Islam, with their stiff, uncompromising Monotheism, there arose, no one knows whence, the inspired dance-orgies of the Dervishes, which then spread far and wide carrying with them the mystical doctrine of the Sûfis, that child of the profound mind of India. Man is God; God is All: such was the pronouncement of the inspired poetry—the special contribution in particular of Persia to this religion of mystic ecstasy—now in the most transparent simplicity, now in the most gorgeous magnificence of imagery. In the ecstatic dance, which in this case remained in organic connexion with the mystical doctrine (as the soil of the maternal earth with the flowers which she puts forth) new strength was ever being added to the spiritual superstructure. Mystical theory was invigorated by the practical experience, in heightened consciousness, of an internal and unquenchable source of undying power and might. The veil of the world was torn aside for the inspired worshipper; the All-One became sensible and intelligible for him; it poured into his own being; the “deification” of the Mystai was realized in him. “Who knows the power of the Dance dwells in God”. . .
Many years before all this, a process of development was completed on Greek soil which has no closer parallel than the special phase of Oriental religion just referred to. Greek religion never indeed (so long at least as the independence of Greek life lasted) went to the extravagant lengths of Oriental mysticism. Even the sense of the infinite had to be expressed by the Greek imagination in plastic form. But for all that, on Greek soil, in the ecstatic Cult of Dionysos, under the influence of Greek reflexion upon God, the world and mankind, the seeds which previously lay undeveloped in the womb of that cult were unfolded in a mystical doctrine, whose guiding principle was the divinity of the human soul and the infiniteness of its life in God. It was from this source that Greek philosophy found the courage to advance a doctrine of the immortality of the soul.
NOTES TO CHAPTER VIII
[1] Pl., Phdr. 265 A.
[2] e.g. Cael. Aurel. (i.e. Soranos), Morb. Chr. i, § 144 ff.; Aret. Chron. Pass. i, 6, p. 84 Kühn [vol. 24].
[3] Even the late interpolated passages Ξ 325, ω 74, are not quite conclusive. Apart from these the statement of Sch. ι 198 applies strictly throughout both poems: τὸ μὴ παραδιδόναι Ὅμηρον Διόνυσον οἴνου εὑρετήν, Lehrs, Arist.3, p. 181.
[4] Ζ 132 ff. The scene is evidently meant to be a Bacchic festival. This is shown by the θύσθλα, which the Διωνύσοιο τιθῆναι let fall out of their hands. All the rest is obscure. Even in antiquity no one knew who the τιθῆναι of Dionysos really were, and hence alternative suggestions were all the more numerous: cf. Nauck, Fr. Trag.2, p. 17. Voigt, in Roscher’s Mythol. Lex. i, 1049. It can hardly be necessary (with Sch. A on Z 129) to deduce from the reference to τιθῆναι that Dionysos himself was regarded as νήπιος ἔτι καὶ παῖς. His former τιθῆναι follow him in the Bacchic festival even after he has grown up, exactly as in h. Hom. xxvi, 3, 7–10. αἱ Διονύσου τροφοί as the frenzied mob worshipping the god, τῷ θεῷ ὀργιάζουσαι (in Thessaly), come in D.S. 5, 50, 4, in a parallel narrative to the story of Lykourgos and the Mainads. With the conception of the god as λικνίτης neither his leap into the sea (Ζ 135 ff.), nor esp. the adj. μαινομένοιο (132) are in harmony. This last word does certainly give us pause. The accounts provided by later ages of the madness of Dionysos are obviously made up from the lines of Homer and are therefore of no use to us (already ap. Eumelos in the Εὐρωπία, Schol. AD. Ζ 131; then Pherekydes, Achaios ἐν Ἴριδι: Phld., Piet., p. 36 [Nauck, Fr. Trag.2, p. 751]; E., Cyc. 3. [Apollod.] iii, 5, 1, is prob. derived from Pherec. as are also Philistos fr. 57, FHG. i; Pl., Lg. 672 B; Nic. Ὀφιακ. fr. 30 Schn., etc.). Scholastic interpreters even thought of a hypallage: μαινομένοιο = μανιοποιοῦ, βακχείας παρασκευαστικοῦ, Schol. A, Ζ 132; cf. Sch. B, p. 182a, 43 f. Bk. And, indeed, there is certainly in this case a sort of mythological or sacramental hypallage: the state of mind brought about by the god in those who surround him is reflected back on to the god himself (μαινόμενοι Σάτυροι, E., Ba. 130; cf. the mad nurses of Dionysos, Nonn., D. ix, 38 ff.). It would not be hard to parallel this (e.g. Dionys. who makes men drunk is represented as himself drunk, Ath. 428 E, etc.).