“Dea magna, Dea Cybele, Dindymi Dea, Domina,
Procul a meâ tuus sit furor omnis, hera, domo:
Alios age incitatos: alios age rabidos!”
We have only to compare this fearful influence with the description of Dikæopolis and his exuberant joviality in the festival of the rural Dionysia (Aristoph. Acharn. 1051 seq.; see also Plato. Legg. i. p. 637), to see how completely the foreign innovations recolored the old Grecian Dionysos,—Διόνυσος πολυγηθὴς,—who appears also in the scene of Dionysos and Ariadnê in the Symposion of Xenophôn, c. 9. The simplicity of the ancient Dionysiac processions is dwelt upon by Plutarch, De Cupidine Divitiarum, p. 527; and the original dithyramb addressed by Archilochus to Dionysos is an effusion of drunken hilarity (Archiloch. Frag. 69, Schneid.).
[80] Pindar, Isthm. vi. 3. χαλκοκρότου πάρεδρον Δημήτερος,—the epithet marks the approximation of Dêmêtêr to the Mother of the Gods. ᾗ κροτάλων τυπάνων τ᾽ ἰαχὴ, σύν τε βρόμος αὐλῶν Εὔαδεν (Homer. Hymn, xiii.),—the Mother of the Gods was worshipped by Pindar himself along with Pan; she had in his time her temple and ceremonies at Thêbes (Pyth. iii. 78; Fragm. Dithyr. 5, and the Scholia ad l.) as well as, probably, at Athens (Pausan. i. 3, 3).
Dionysos and Dêmêtêr are also brought together in the chorus of Sophoklês, Antigonê, 1072. μέδεις δὲ παγκοίνοις Ἐλευσινίας Δηοῦς ἐν κόλποις; and in Kallimachus, Hymn. Cerer. 70. Bacchus or Dionysos are in the Attic tragedians constantly confounded with the Dêmêtrian Iacchos, originally so different,—a personification of the mystic word shouted by the Eleusinian communicants. See Strabo, x. p. 468.
[81] Euripidês in his Chorus in the Helena (1320 seq.) assigns to Dêmêtêr all the attributes of Rhea, and blends the two completely into one.
[82] Sophocl. Antigon. Βακχᾶν μητρόπολιν Θήβαν.
[83] Homer, Hymn. Cerer. 123. The Hymn to Dêmêtêr has been translated, accompanied with valuable illustrative notes, by J. H. Voss (Heidelb. 1826).
[84] Homer, Hymn. Cerer. 202-210.