poetry, and is, at least, part of the complete physiognomy of Dionysus, as it actually reveals itself to the modern student, after a complete survey. The whole compass of the idea of Dionysus, a dual god of both summer and winter, became ultimately, as we saw, almost identical with that of Demeter. The Phrygians believed that the god slept in winter and awoke in summer, and celebrated his waking and sleeping; or that he was bound and imprisoned in winter, and unbound in spring. We saw how, in Elis and at Argos, the women called him out of the sea, with the singing of hymns, in early spring; and a beautiful ceremony in the temple at Delphi, which, as we know, he shares with Apollo, described by Plutarch, represents his mystical resurrection. Yearly, about the time of the shortest day, just as the light begins to increase, [44] and while hope is still tremulously strung, the priestesses of Dionysus were wont to assemble with many lights at his shrine, and there, with songs and dances, awoke the new-born child after his wintry sleep, waving in a sacred cradle, like the great basket used for winnowing corn, a symbolical image, or perhaps a real infant. He is twofold then--a Döppelganger; like Persephone, he belongs to two worlds, and has much in common with her, and a full share of those dark possibilities which, even apart from the story of the rape, belong to her. He is a Chthonian god, and, like all the children of the earth, has an element of sadness; like Hades himself, he is hollow and devouring, an eater of man's flesh--sarcophagus--the grave which consumed unaware the ivory-white shoulder of Pelops.