We have seen (p. 71) that, out of the puppet or the May Queen, actually _per_ceived year after year there arose a remembrance, a mental image, an imagined Tree Spirit, or "Summer," or Death, a thing never actually seen but _con_ceived. Just so with the Bull. Year by year in the various villages of Greece was seen an actual holy Bull, and bit by bit from the remembrance of these various holy Bulls, who only died to live again each year, there arose the image of a Bull-Spirit, or Bull-Daimon, and finally, if we like to call him so, a Bull-God. The growth of this idea, this _con_ception, must have been much helped by the fact that in some places the dancers attendant on the holy Bull dressed up as bulls and cows. The women worshippers of Dionysos, we are told, wore bulls' horns in imitation of the god, for they represented him in pictures as having a bull's head. _We_ know that a man does not turn into a bull, or a bull into a man, the line of demarcation is clearly drawn; but the rustic has no such conviction even to-day. That crone, his aged aunt, may any day come in at the window in the shape of a black cat; why should she not? It is not, then, that a god 'takes upon him the form of a bull,' or is 'incarnate in a bull,' but that the real Bull and the worshipper dressed as a bull are seen and remembered and give rise to an imagined Bull-God; but, it should be observed, only among gifted, imaginative, that is, image-making, peoples. The Ainos have their actual holy Bear, as the Greeks had their holy Bull; but with them out of the succession of holy Bears there arises, alas! no Bear-God. * * * * * We have dwelt long on the Bull-driving Dithyramb, because it was not obvious on the face of it how driving a bull could help the coming of spring. We understand now why, on the day before the tragedies were performed at Athens, the young men (_epheboi_) brought in not only the human figure of the god, but also a Bull "worthy" of the God. We understand, too, why in addition to the tragedies performed at the great festival, Dithyrambs were also sung--"Bull-driving Dithyrambs." * * * * * We come next to a third aspect of the Dithyramb, and one perhaps the most important of all for the understanding of art, and especially the drama. _The Dithyramb was the Song and Dance of the New Birth._ Plato is discussing various sorts of odes or songs. "Some," he says, "are prayers to the gods--these are called _hymns_; others of an opposite sort might best be called _dirges_; another sort are _pæans_, and another--the birth of Dionysos, I suppose--is called _Dithyramb_." Plato is not much interested in Dithyrambs. To him they are just a particular kind of choral song; it is doubtful if he even knew that they were Spring Songs; but this he did know, though he throws out the information carelessly--the Dithyramb had for its proper subject the birth or coming to be, the _genesis_ of Dionysos.