and are changed into dolphins. There remains none but the discreet and pious steersman, to whom Dionysos addresses words of affectionate encouragement, revealing his name, parentage and dignity.[76] [76] See Homer, Hymn 5, Διόνυσος ἢ Λῆσται.—The satirical drama of Euripidês, the Cyclôps, extends and alters this old legend. Dionysos is carried away by the Tyrrhenian pirates, and Silênus at the head of the Bacchanals goes everywhere in search of him (Eur. Cyc. 112). The pirates are instigated against him by the hatred of Hêrê, which appears frequently as a cause of mischief to Dionysos (Bacchæ, 286). Hêrê in her anger had driven him mad when a child, and he had wandered in this state over Egypt and Syria; at length he came to Cybela in Phrygia, was purified (καθαρθεὶς) by Rhea, and received from her female attire (Apollodôr. iii. 5, 1, with Heyne’s note). This seems to have been the legend adopted to explain the old verse of the Iliad, as well as the maddening attributes of the god generally. There was a standing antipathy between the priestesses and the religious establishments of Hêrê and Dionysos (Plutarch, Περὶ τῶν ἐν Πλαταίαις Δαιδάλων, c. 2, tom. v. p. 755, ed. Wytt). Plutarch ridicules the legendary reason commonly assigned for this, and provides a symbolical explanation which he thinks very satisfactory. This hymn, perhaps produced at the Naxian festival of Dionysos, and earlier than the time when the dithyrambic chorus became the established mode of singing the praise and glory of that god, is conceived in a spirit totally different from that of the Bacchic Telatæ, or special rites which the Bacchæ of Euripidês so abundantly extol,—rites introduced from Asia by Dionysos himself at the head of a thiasus or troop of enthusiastic women,—inflaming with temporary frenzy the minds of the women of Thebes,—not communicable except to those who approach as pious communicants,—and followed by the most tragical results to all those who fight against the god.[77] The Bacchic Teletæ, and the Bacchic feminine frenzy, were importations from abroad, as Euripidês represents them, engrafted upon the joviality of the primitive Greek Dionysia; they were borrowed, in all probability, from more than one source and introduced through more than one channel, the Orphic life or brotherhood being one of the varieties. Strabo ascribes to this latter a Thracian original, considering Orpheus, Musæus, and Eumolpus as having been all Thracians.[78] It is curious to observe how, in the Bacchæ of Euripidês, the two distinct and even conflicting ideas of Dionysos come alternately forward; sometimes the old Grecian idea of the jolly and exhilarating god of wine—but more frequently the recent and imported idea of the terrific and irresistible god who unseats the reason, and whose _œstrus_ can only be appeased by a willing, though temporary obedience. In the fanatical impulse which