Bacchus was a rude, boisterous fellow and the very antithesis of the quiet, contemplative Apollo. We remember him today merely as the god of wine, but in his time he stood, not only for drinking and carousing, but also for a whole system of art and a whole notion of civilization. Apollo represented the life meditative; Bacchus Dionysus represented the life strenuous. The one favored those forms of art by which human existence is halted and embalmed in some lifeless medium--sculpture, architecture, painting or epic poetry. The other was the god of life in process of actual being, and so stood for those forms of art which are not mere records or reflections of past existence, but brief snatches of present existence itself--dancing, singing, music and the drama. It will be seen that this barbarous invasion of the new god and his minions made a profound change in the whole of Greek culture. Instead of devoting their time to writing epics, praising the laws, splitting philosophical hairs and hewing dead marble, the Greeks began to question all things made and ordained and to indulge in riotous and gorgeous orgies, in which thousands of maidens danced and hundreds of poets chanted songs of love and war, and musicians vied with cooks and vintners to make a grand delirium of joy. The result was that the entire outlook of the Greeks, upon history, upon morality and upon human life, was changed. Once a people of lofty introspection and elegant repose, they became a race of violent activity and strong emotions. They began to devote themselves, not to writing down the praises of existence as they had found it, but to the task of improving life and of widening the scope of present and future human activity and the bounds of possible human happiness.[4]