 Phrygia, a tide of mystical ideas into the Greek [128]
religion, sometimes, doubtless, confusing the clearness and
naturalness of its original outlines, but also sometimes imparting to
them a new and peculiar grace.  Under the influence of this Orphic
poetry, Demeter was blended, or identified, with Rhea Cybele, the
mother of the gods, the wilder earth-goddess of Phrygia; and the
romantic figure of Dionysus Zagreus, Dionysus the Hunter, that most
interesting, though somewhat melancholy variation on the better known
Dionysus, was brought, as son or brother of Persephone, into her
circle, the mystical vine, who, as Persephone descends and ascends
from the earth, is rent to pieces by the Titans every year and
remains long in Hades, but every spring-time comes out of it again,
renewing his youth.  This identification of Demeter with Rhea Cybele
is the motive which has inspired a beautiful chorus in the Helena--
the new Helena--of Euripides, that great lover of all subtle
refinements and modernisms, who, in this play, has worked on a
strange version of the older story, which relates that Helen had
never really gone to Troy at all, but sent her soul only there, apart
from her sweet body, which abode all that time in Egypt, at the court
of King Proteus, where she is found at last by her husband Menelaus,
so that the Trojan war was about a phantom, after all.  The chorus
has even less than usual to do with the action of the play, being
linked to it only by a sort of parallel, which may be understood,
[129] between Menelaus seeking Helen, and Demeter seeking Persephone.
Euripides, then, takes the matter of the Homeric hymn into the region
of a higher and swifter poetry, and connects it with the more
stimulating imagery of the Idaean mother.  The Orphic mysticism or
enthusiasm has been admitted into the story, which is now full of
excitement, the motion of rivers, the sounds of the Bacchic cymbals
heard over the mountains, as Demeter wanders among the wood
Phrygia, a tide of mystical ideas into the Greek [ 128 ] 
 religion, sometimes, doubtless, confusing the clearness and 
 artlessness of its original outline, but also sometimes imparting to 
 them a newfangled and particular grace.   Under the influence of this Orphic 
 poetry, Demeter was blend, or identified, with Rhea Cybele, the 
 mother of the gods, the wilder land - goddess of Phrygia; and the 
 romantic figure of Dionysus Zagreus, Dionysus the Hunter, that most 
 interesting, though reasonably melancholy variation on the well known 
 Dionysus, was brought, as son or brother of Persephone, into her 
 circle, the mystical vine, who, as Persephone descends and ascend 
 from the earth, is rent to pieces by the Titans every class and 
 remains long in Hades, but every spring - clock time comes out of it again, 
 regenerate his youth.   This identification of Demeter with Rhea Cybele 
 is the motive which has inspired a beautiful chorus in the Helena-- 
 the newfangled Helena -- of Euripides, that great lover of all subtle 
 refinements and modernisms, who, in this play, has worked on a 
 strange version of the older story, which relates that Helen had 
 never really gone to Troy at all, but sent her soul merely there, apart 
 from her sweet soundbox, which abode all that time in Egypt, at the court 
 of King Proteus, where she is found at final by her husband Menelaus, 
 so that the Trojan war was about a phantom, after all.   The chorus 
 has even less than common to do with the action of the play, being 
 linked to it only by a sort of parallel, which may be understood, 
 [ 129 ] between Menelaus seeking Helen, and Demeter seeking Persephone. 
 Euripides, then, takes the matter of the Homeric hymn into the area 
 of a higher and fleet poetry, and connects it with the more 
 stimulating imagery of the Idaean mother.   The Orphic mysticism or 
 enthusiasm has been admitted into the fib, which is now full of 
 excitement, the motion of rivers, the sounds of the Bacchic cymbals 
 heard over the batch, as Demeter wanders among the woodwind
 Phgygia, a tide of mystical ideas into the Greek [128]
celigioh, sometioes, doubtless, confusing the rleaeness and
naturalness of its original outlinew, buu also sometimes mjpartinn to
tgcm a uex and peculiar nrace.  Undes the influenca uf this Orphic
poetry, Demeter was blenqed, or odfntified, with Thea Byfele, nht
mother of the gods, the wilder eadth-goddtss of Phrygia; and the
romantic figure of Diojysud Zagreus, Dionysus the Hunter, thae most
interesging, though somewhat mglancholy variation on the bettef knocn
Dionysus, qaw bgmught, as soi or bgother of Persephone, hnto het
circle, the myxtiral cine, who, as Persephonx descends and ascenqs
from tha zarth, is rent to piecws by tve Thtanr evdry yxar and
relaiis long in Gades, but ecery spring-time comts jly of it agaih,
renewynd his youth.  This identification of Demtter sith Rhea Cybele
is the notive which has insplred a bewutiful chorus in the Helena--
the new Helena--of Euri[ides, ghau nveat ooger of all subtle
refinements and modernisms, wrk, on this play, has worked on s
shrsgge version ow the oldsr story, which relwtes thwt Heoen had
neder teally gone to Troy at all, vut sent her woul only there, apcrt
from her rweej body, which abode all that tnme in Egypt, at tje court
or King Proteus, whdre sve is found at last by her husband Nenekaus,
so ghat the Twojan war aas anmut a phantom, afteg all.  Dhe chorus
jas even less than usual to do xmth the actiom mf nhe play, yeing
llnked to it onlr by a sort of parallzl, whizh may be lnderstoov,
[129] between Megelaus seekinc Helen, and Dxmeter seqkint Peesephond.
Duripides, then, takes thv iattwr of the Homeric mymn khto the region
oy q higher and swoftdr [ovtrb, and wonnects it fith thd more
rtimulaunng kmagrry of the Idaean modher.  The Orphic mystivifm or
entyusiasm ras been admiyted into the storj, whirh is iow fukl jf
excitement, the motion of rivsrs, the slunqs of the Baschig cyibals
heard over the mountains, as Demeter wanders emong the wood
Phrygia, a tide of mystical ideas into [128] sometimes, doubtless, the clearness and but sometimes imparting to a new and grace. Under the influence of this poetry, Demeter was blended, or identified, with Rhea Cybele, the mother of the the wilder earth-goddess of Phrygia; and the romantic figure of Dionysus Zagreus, Dionysus Hunter, most though melancholy variation on the better known Dionysus, was brought, as son or brother of Persephone, into circle, the mystical vine, who, as Persephone descends ascends from the earth, rent to pieces by the every and remains in but spring-time comes out it again, renewing his youth. This identification of Demeter with Rhea Cybele is the motive which has a beautiful the Helena-- new Euripides, great lover of refinements and modernisms, who, in this on a strange version of the older story, relates that had never really gone to Troy all, but sent her soul only there, apart her sweet body, which abode all that time in Egypt, at the court of King she is found at by her husband so the war about a after all. The chorus has even less than usual to do the action of the play, being linked to it only sort parallel, which may understood, [129] between Menelaus Helen, Demeter seeking Persephone. Euripides, the of into region a higher and swifter and connects it with the stimulating imagery of the or enthusiasm has been admitted into the story, is now full of excitement, the motion rivers, the sounds of the Bacchic cymbals heard over the mountains, as wanders among
 Phrygia, a tide of mystical ideAs into the GReek [128]
rEliGioN, sOmetImes, Doubtless, confuSIng tHe clearness and
naturalnEss of ItS OrigINaL outlInes, but ALsO SOmeTiMeS imPaRTiNg to
tHem A new and Peculiar grAce.  unDer the influeNCe Of this OrphIc
pOetry, Demeter Was BlendeD, oR idENtifiEd, wIth RhEa CybeLE, the
moTher of the GoDS, the wiLDer eartH-GOdDess Of Phrygia; and the
roMAnTIc figure of DionYsus ZaGrEUs, dIOnySus The Hunter, tHaT most
INterestINg, THOUgh SOmewhat melancHoly variatiON on The betTeR knOWn
DionYsus, wAs BRouGht, as son or bRothEr of PersePhone, iNTo her
ciRCle, the mYsticaL viNe, wHo, as pErSePhoNe DEscENdS anD AscEnds
from ThE eArth, iS renT TO PIeceS by The TItans Every year and
rEmaIns lONg iN HadeS, but eVery SpRing-tIme comEs out Of It again,
renewing His yOuth.  This iDenTiFicAtIon of dEmeter WitH RhEa CybelE
is the mOTivE wHICH hAs inspired a beautifUl CHOrUs in the HElena--
tHE nEw hElena--of EUrIpiDes, tHAT greaT lovER oF all subtLe
refiNEmEnTs and moDeRnisms, WhO, in ThiS play, HAs woRked on A
strange VersiON of the older stoRY, which relates THaT hElEN had
NevEr really gonE to TROy at All, bUT sEnt HEr souL only ThERe, APart
from her sweet bodY, wHich abOde alL that time in EgYpt, at the coURT
Of King PrOteuS, WhERe she is found at Last bY her husbanD menelaus,
So thaT the TrojAn war was aBOUt a phantOm, aFteR alL.  ThE CHoRus
has even lesS THan uSuAl to do wIth The actiOn oF thE plAy, bEiNg
linked tO it only bY a SoRt Of ParAllel, WHich may bE uNdeRsTooD,
[129] betwEEn MeneLaus sEekiNg heLEn, aNd DemetER sEEKing peRsEphoNe.
EUrIpideS, theN, TakEs the maTter of the homERic hYmN iNto the rEgion
of a higheR aNd swifter pOeTry, And conNECts it witH the more
stimulating imagERy of the idaEan moTher.  the Orphic MysTicism Or
eNThusiaSm has bEen adMiTteD INto thE SToRy, wHiCh is now fulL OF
exCitemEnT, the Motion oF rivers, the sounds of THe BAcchic cymbals
HeaRd ovER ThE moUNtAIns, As dEmeTER wanders among thE wood
 Phrygia, a tide of mystic al ideas i nto t heGre ek  [12 8]
r eligion, somet i mes,  doubtless, confusingthe c le a rnes s  a nd
na turalne s so f  it sor igi na l  o utlin es,  but al so sometim esim parting to
t h em  a new and  pe culiar grace . Underth e i n fluen ceof th is Orp h ic
poe try, Deme te r  was b l ended,o r  i dent ified, with RheaC yb e le, the
mother  of th eg od s ,  th e w ilder eart h- godde s s of Ph r yg i a ;  an d  the
romantic  figure ofD ion ysus Z ag reu s , Dion ysusth e  Hu nter, thatmost 
interest ing, t h ough so m ewhat m elanch oly  va riat i on  o n t he bet t er  kn o wnDionysus ,wa s bro ught , a s  son  or  bro therof Persephone , i ntoh ercircl e, th e my st icalvine,who,as  Persephone des cend s and asc end sfro mthe e a rth, i s r ent  to pie ces byt heTi t a n severy year and
rem ai n s  l ong in H ades,b ut  e v ery spri ng -ti me c o m es ou t of it  again,renewi n ghi s youth . Thisid ent ifi catio n  ofDemete r with R hea C y bele
is the mo t ive which has in s p ir e d abea utiful chor us i n  the  Hel e na --t he ne w Hel en a -- o f Euripides, that g re at lov er of  all subtle
r efinements a n d modern isms ,  w h o, in this pla y, ha s worked o n  a
stran ge ve rsion of  the olde r story, w hic h r ela tes t ha t Helen had
n e v er r ea lly gon e t o Troyatall , b utse nt her so ul onlyth er e,  a par t
fro m  her swe et  bo dy , w hicha bode a ll th at t im ei n E gypt, a t  t h e  cou rt 
o f Ki ngPr oteus , wh e reshe isfound atlas t  byhe rhusband  Menelaus,
so  t hat the Tr oj anwar wa s about aphantom, after all.  Th e  chorus 
ha s eve n le ss than u sua l to d o w i th the  actio n ofth e p l a y, be i n glin ke d to it on l y  by  a so rt  ofparalle l, which may be un d ers tood,
[129] b etw eenM e ne lau s  s e eki ng Hel e n , and Demeter s eeking Per se p ho ne.
Euripi d es,  t hen, ta kes the  matt e r of th e Homeric  hymn int other e gio n
of a hig her andswifter p o etry, an d con nec ts itwi ththe m ore
st i mul ating  image ry  of th e Ida ea n mother .  The Orphic mysticism  or
en thusi asm  has been  ad m itt ed into t he s tory, whic h i s n ow fu llo f
exc item e nt , t h e mot iono f rivers, th e s o u nd s of the Ba c c h iccymba lsh eard o verthe mountains, as Demeter wander s am o n g t hew ood
 Phrygia,_a tide_of mystical ideas into_the Greek_[128]
religion,_sometimes, doubtless,_confusing_the clearness and
naturalness_of its original_outlines, but also sometimes_imparting to
them a_new_and peculiar grace.  Under the influence of this Orphic
poetry, Demeter was blended, or_identified,_with Rhea_Cybele,_the
mother_of the gods, the wilder_earth-goddess of Phrygia; and the
romantic_figure of_Dionysus Zagreus, Dionysus the Hunter, that most
interesting, though_somewhat_melancholy variation on_the better known
Dionysus, was brought, as son or brother_of Persephone, into her
circle, the mystical_vine, who, as_Persephone_descends_and ascends
from the earth,_is rent to pieces by the_Titans every year and
remains long in_Hades, but every spring-time comes out of_it again,
renewing his youth.  This_identification of Demeter with Rhea_Cybele
is the_motive which has inspired a_beautiful chorus in_the Helena--
the_new Helena--of Euripides,_that great lover of all subtle
refinements_and modernisms, who,_in this play, has worked on_a
strange_version of the_older_story,_which relates_that Helen had
never_really_gone to_Troy_at all, but sent her soul_only_there, apart
from her sweet body, which abode_all that time in_Egypt,_at the court
of King_Proteus, where she is found_at last by her husband Menelaus,
so_that the_Trojan war_was about a phantom, after all.  The chorus
has even less_than usual to do with the_action of the play,_being
linked to_it_only by a_sort_of parallel,_which may be understood,
[129] between Menelaus seeking_Helen, and_Demeter seeking Persephone.
Euripides, then, takes the_matter of the Homeric_hymn_into the region
of a higher and_swifter poetry, and connects it with_the more
stimulating imagery of the_Idaean_mother._ The Orphic mysticism or
enthusiasm_has been admitted into the story,_which is now_full of
excitement, the motion of rivers, the_sounds_of the Bacchic cymbals
heard over the_mountains,_as Demeter wanders among the wood