'Then chaunted rose The song of Bacchic women: all the band Of shaggy Satyrs howled with mystic voice, Preluding to the Phrygian minstrelsy Of nightly orgies. Earth around them laughed; The rocks reechoed; shouts of revelling joy Shrilled from the Naiads, and the river nymphs Sent echoes from their whirlpool-circled tides, Flowing in silence; and beneath the rocks Chanted Sicilian songs, like preludes sweet, That through the warbling throats of Syren nymphs, Most musical drop of honey from their tongues.' NONNUS. For all this wild joy, all this exquisite union of all the pleasures known to man, whether in the mad embraces of passionate nymphs, in draining wine, in tasting the fresh honeycomb, in wild dances under green leaves, in feasting, or in song, Bacchus was the centre, and the Cup the symbol. And this cup--the absolutely _feminine_ type--the _Iona_ which forms the nucleus of so great and so curious a family of words in the Indo-Germanic and Shemitic languages--was fabled to have been formed from the wood of Ivy. Let the reader hear this double sex of Bacchus in mind; he will find it recurring again in the myth of Ivy. 'We must,' says CREUZER (_Symbolik und Mythologie der Alten Voelker_), 'think of ALL things, if we would not see the Bacchic genii in their mysterious rites, from a one-sided point of view. Not only Bacchus himself, but his male and female companions must each, like their lord on earth, appear in _different_ forms. For the mysteries loved the antique, the pregnant-with-meaning, _i. e._ that which has a really symbolical fulness, and supplies full food for thought.' And again: 'It would have been very strange if the Man-Woman had not also appeared in this mysterious array of forms. In his origin, Bacchus is an Indian god, and to the Hindus the world was bi-sexed.' Thus we find in the Ivy, as his sacred plant, a curious and beautiful symbol, in whose trailing embraces the ancient East and West are bound together.