[48] Herod. ii. 81; Euripid. Hippol. 957, and the curious fragment of the lost Κρῆτες of Euripidês. Ὀρφικοὶ βίοι, Plato, Legg. vii. 782. Festivals at seed-time and harvest—at the vintage and at the opening of the new wine—were doubtless coeval with the earliest habits of the Greeks; the latter being a period of unusual joviality. Yet in the Homeric poems, Dionysos and Dêmêtêr, the patrons of the vineyard and the cornfield, are seldom mentioned, and decidedly occupy little place in the imagination of the poet as compared with the other gods: nor are they of any conspicuous importance even in the Hesiodic Theogony. But during the interval between Hesiod and Onomakritus, the revolution in the religious mind of Greece was such as to place both these deities in the front rank. According to the Orphic doctrine, Zagreus, son of Persephonê, is destined to be the successor of Zeus, and although the violence of the Titans intercepts this lot, yet even when he rises again from his discerption under the name of Dionysos, he is the colleague and coëqual of his divine father. This remarkable change, occurring as it did during the sixth and a part of the seventh century before the Christian æra, may be traced to the influence of communication with Egypt (which only became fully open to the Greeks about B. C. 660), as well as with Thrace, Phrygia, and Lydia. From hence new religious ideas and feelings were introduced, which chiefly attached themselves to the characters of Dionysos and Dêmêtêr. The Greeks identified these two deities with the great Egyptian Osiris and Isis, so that what was borrowed from the Egyptian worship of the two latter naturally fell to their equivalents in the Grecian system.[49] Moreover the worship of Dionysos (under what name cannot be certainly made out) was indigenous in Thrace,[50] as that of the Great Mother was in Phyrgia, and in Lydia—together with those violent ecstasies and manifestations of temporary frenzy, and that clashing of noisy instruments, which we find afterwards characterizing it in Greece. The great masters of the pipe—as well as the dythyramb,[51] and indeed the whole musical system appropriated to the worship of Dionysos, which contrasted so pointedly with the quiet solemnity of the Pæan addressed to Apollo—were all originally Phrygian. [49] Herodot. ii. 42, 59, 144. [50] Herodot. v. 7, vii. 111; Euripid. Hecub. 1249, and Rhêsus, 969, and the Prologue to the Bacchæ; Strabo, x. p. 470; Schol. ad Aristophan. Aves, 874; Eustath. ad Dionys. Perieg. 1069; Harpocrat. v. Σάβοι; Photius, Εὐοῖ Σαβοῖ. The “Lydiaca” of Th. Menke (Berlin, 1843) traces the early connection between the religion of Dionysos and that of Cybelê, c. 6, 7. Hoeckh’s Krêta (vol. i. p. 128-134) is instructive respecting the Phrygian religion.