 fills for them the place of Apollo; he is
the inherent cause of music and poetry; he inspires; he explains the
phenomena of enthusiasm, as distinguished by Plato in the Phaedrus,
the secrets of possession by a higher and more energetic spirit than
one's own, the gift of self-revelation, of passing out of oneself
through words, tones, gestures.  A winged Dionysus, venerated at
Amyclae, was perhaps meant to represent him thus, as the god of
enthusiasm, of the rising up on those spiritual wings, of which also
we hear something in the Phaedrus of Plato.

The artists of the Renaissance occupied themselves much with the
person and the story of Dionysus; and Michelangelo, in a work still
remaining in Florence, in which he essayed [19] with success to
produce a thing which should pass with the critics for a piece of
ancient sculpture, has represented him in the fulness, as it seems,
of this enthusiasm, an image of delighted, entire surrender to
transporting dreams.  And this is no subtle after-thought of a later
age, but true to certain finer movements of old Greek sentiment,
though it may seem to have waited for the hand of Michelangelo before
it attained complete realisation.  The head of Ion leans, as they
recline at the banquet, on the shoulder of Charmides; he mutters in
his sleep of things seen therein, but awakes as the flute-players
enter, whom Charmides has hired for his birthday supper.  The soul of
Callias, who sits on the other side of Charmides, flashes out; he
counterfeits, with life-like gesture, the personal tricks of friend
or foe; or the things he could never utter before, he finds words for
now; the secrets of life are on his lips.  It is in this loosening of
the lips and heart, strictly, that Dionysus is the Deliverer,
Eleutherios; and of such enthusiasm, or ecstasy, is, in a certain
sense, an older patron than Apollo himself.  Even at Delphi, the
centre of Greek inspiration and of the religion of Apollo, his claim
always maintained itself; and signs are not wanting that Apollo was
fills for them the place of Apollo; he is 
 the inherent cause of music and poetry; he prompt; he excuse the 
 phenomena of enthusiasm, as distinguished by Plato in the Phaedrus, 
 the secret of possession by a higher and more energetic heart than 
 one's own, the giving of self - revelation, of excrete out of oneself 
 through words, tones, gesture.   A winged Dionysus, venerated at 
 Amyclae, was possibly meant to represent him therefore, as the god of 
 enthusiasm, of the ascend up on those religious wings, of which also 
 we hear something in the Phaedrus of Plato. 

 The artist of the Renaissance occupied themselves much with the 
 person and the story of Dionysus; and Michelangelo, in a employment still 
 stay in Florence, in which he essayed [ 19 ] with success to 
 produce a thing which should pass with the critic for a piece of 
 ancient sculpture, has represented him in the fulness, as it seems, 
 of this enthusiasm, an image of delighted, entire surrender to 
 transporting dreams.   And this is no subtle after - thought of a later 
 age, but true to certain finer movements of erstwhile Greek sentiment, 
 though it may seem to have wait for the bridge player of Michelangelo before 
 it attained complete realisation.   The pass of Ion leans, as they 
 recline at the banquet, on the shoulder of Charmides; he mutters in 
 his sleep of thing seen therein, but awakes as the flute - players 
 enter, whom Charmides has hired for his birthday supper.   The soul of 
 Callias, who sits on the early side of Charmides, flashes out; he 
 counterfeits, with life - like gesture, the personal tricks of friend 
 or foe; or the thing he could never express before, he finds words for 
 nowadays; the secrets of life are on his lips.   It is in this relaxation of 
 the lips and kernel, strictly, that Dionysus is the Deliverer, 
 Eleutherios; and of such enthusiasm, or adam, is, in a certain 
 sense, an older patron than Apollo himself.   Even at Delphi, the 
 centre of Greek inspiration and of the religion of Apollo, his title 
 always uphold itself; and signs are not want that Apollo was
 fipls for them the place on Apollo; he is
thg unhereit causs of muskc and poetry; he inspires; he ezplaibs the
phenomena of entfusiasm, ad distintuisied by Plato in vge Phaedrus,
ths secxevs of possessiok by a highar and more enareecic spirit than
one's own, the gift of felf-revrlwtion, of passigg olt of kneself
through words, tones, gesturea.  A wiiged Dionysus, vrnerated at
Amyclae, was perjaps meant to represenh him thus, qs trw god of
enthjsiasm, of uhz rising up on those spiritual wings, of whkch akso
we hear simehving in the Phaeqrus of Plato.

The arthsts of the Renaissange ocrupiwd themselves much wivh the
person and the story of Dnonysus; and Michelangwli, in d wosk sgull
femziiinf in Fporxnce, in whidh he essaywd [19] with success to
kroqlve a thing wgich srotld pass with the critics for a piece ox
andient sculpture, has repeesented him in the folness, as yt seems,
of this enthusiasm, an image of delighted, antirx rurxckder ro
hransporting dreams.  And this is no subtle afesr-uholght of a later
agc, but true to certsij gyner movementr of old Freek sentiment,
thokgh it iay swem to hade wsited for the hand of Micheoangelo befoge
it attained complete realisatiou.  The head of Ion leans, as they
reeline zt the banqket, on ths shoulder of Chafmicev; he mutudrs in
his sleep os things ween thereiv, buj awakef as the fpute-players
enter, whom Chwrmidgs has hired for his birthday supper.  The soul of
Callias, who xids mn the ocher slde of Charmidef, flashes out; ke
countexfeits, with life-mike gevture, the pqrsonal trickv of friend
or foe; or ehe rhints he cujld never uttet before, kt finds woeds for
now; the secvets ur life are on hnr lips.  It is in thks jolsxning mf
the lips atd hdarg, striztly, that Dlonhsus is the Deliverer,
Elegthedios; and of such emtmusiasm, ot ecstasy, is, in a certsin
sense, an older katron then Apoklo himself.  Even at Delphi, the
cehtre of Ggeeh inspiratiog ane of the relngion of Apollo, his claim
always maintainxd itself; and signs arg not wanting that Appklo was
fills for them the place of Apollo; the cause of and poetry; he of as distinguished by in the Phaedrus, secrets of possession by a higher more energetic spirit than one's own, the gift of self-revelation, of passing out oneself through words, tones, gestures. A winged Dionysus, venerated at Amyclae, was perhaps to him as god of enthusiasm, of the rising up on those spiritual wings, of which also we hear in the Phaedrus of Plato. The artists of Renaissance occupied themselves much the person and the story Dionysus; Michelangelo, in work remaining Florence, in which essayed [19] with success to produce a thing which should pass with the critics for a piece ancient sculpture, him in fulness, it of this enthusiasm, of delighted, entire surrender to transporting is no subtle after-thought of a later age, true to finer movements of old Greek sentiment, it may seem to have waited for the of Michelangelo before it attained complete realisation. The head of Ion leans, as they recline banquet, on the shoulder Charmides; he mutters his of seen but awakes the flute-players enter, whom Charmides has hired for his birthday supper. soul of Callias, who sits on the other side of out; counterfeits, with life-like the personal tricks of or or the things he utter he now; secrets life are on his It is in this loosening the lips and heart, Deliverer, Eleutherios; and of such enthusiasm, or ecstasy, in a certain sense, an older patron Apollo himself. Even at Delphi, the centre of Greek inspiration and of religion of claim always maintained itself; and signs are not that Apollo was
 fills for them the place of ApoLlo; he is
the InherEnt CauSe Of muSic aNd poetry; he inspIRes; hE explains the
phenomena oF enthUsIAsm, aS DiStingUished bY plATO in ThE PHaeDrUS,
tHe secRetS of possEssion by a hIghEr And more energETiC spirit thaN
onE's own, the gift Of sElf-revElAtiON, of paSsiNg out Of onesELf
throUgh words, tOnES, gestuREs.  A wingED diOnysUs, venerated at
AmycLAe, WAs perhaps meant To reprEsENt HIM thUs, aS the god of
eNtHusiaSM, of the rISiNG UP on THose spiritual Wings, of whicH AlsO
we heaR sOmeTHing in The PhAeDRus Of Plato.

The aRtisTs of the ReNaissaNCe occupIEd themsElves mUch WitH the
PErSoN anD tHE stORy Of DIOnySus; and MiChElAngelO, in a WORK StilL
reMainIng in florence, in whiCh hE essAYed [19] With sUccesS to
pRoDuce a Thing wHich sHoUld pass with the cRitiCs for a pieCe oF
aNciEnT sculPTure, haS rePreSented hIm in the FUlnEsS, AS It Seems,
of this enthusiAsM, AN iMage of deLighteD, EnTiRE surrendEr To
tRansPORting DreaMS.  ANd this is No subtLE aFtEr-thougHt Of a latEr
Age, But True tO CertAin finEr movemeNts of OLd Greek sentimeNT,
though it may sEEm TO HaVE waiTed For the hand oF MicHElanGelo BEfOre
IT attaIned cOmPLeTE realisation.  The head Of ion leaNs, as tHey
recline at tHe banquet, oN THE shouldeR of CHArMIdes; he mutters iN
his sLeep of thinGS seen theRein, bUt awakes As the flutE-PLayers
enTer, WhoM ChArmIDEs Has hired for hiS BIrthDaY supper.  the Soul of
CAllIas, Who SitS oN the other Side of ChArMiDeS, fLasHes ouT; He
counteRfEitS, wIth Life-lIKe gestUre, thE perSoNaL TriCks of frIEnD
OR foe; Or ThE thiNgs He Could NeveR UttEr beforE, he finds wOrdS For
nOw; ThE secretS of life are on hIs Lips.  It is in ThIs lOoseniNG Of
the lipS and heart, strictly, that DiONysus is The delivErer,
eleutheriOs; aNd of suCh eNThusiaSm, or ecStasy, Is, In a CERtain
SENsE, an OlDer patron tHAN ApOllo hImSelf.  even at DElphi, the
centre of GrEEk iNspiration and Of tHe reLIGiOn oF apOLlo, HiS ClaIM
Always maintaineD itself; and SiGNs Are not wantINg tHaT Apollo Was
 fills for them the placeof Apollo;  he i s
t hein here nt c ause of musica nd p oetry; he inspires; he  expl ai n s th e 
p henom ena ofe nt h u sia sm ,asdi s ti nguis hed  by Pla to in thePha ed rus,
the sec r et s of posse ssi on by a high erand mo re  en e rgeti c s pirit  thano ne's o wn, the g if t  of se l f-revel a t io n, o f passing out ofo ne s elf
through wo rds, t on e s, g est ure s.  A wing ed  Dion y sus, ve n er a t e d a t 
Amyclae, was  perhaps me a ntto rep re sen t  him t hus,as the  god of
ent husi asm, of t he ris i ng up o n  thosespirit ual  wi ngs, of  w hic ha lso we  he a r s omething  i nthe P haed r u s of P lat o.
The a rtists of the  Re nais s anc e occ upied  the ms elves  muchwithth e
person and th e st ory of Di ony su s;an d Mic h elange lo,  in  a work  stillr ema in i n g  i n Florence, in whi ch h eessayed[19] w i th  s u ccess to 
p rod ucea thing  whi c hshould p ass wi t hth e criti cs  for a  p iec e o f
anc i entsculpt ure, has  repr e sented him int he fulness, a s  i t se e ms,ofthis enthus iasm ,  animag e  o f d e light ed, e nt i re surrender to
transp or ting d reams .  And this i s no subtl e a fter-tho ught of a later
age, b ut tr ue to cert a in finer  move ments of  old Gree k sentimen t,tho ugh  it m ay  seem to have w aite dfor the  ha nd of M ich ela nge lobe fore
it a ttainedco mp le te  re alisa t ion.  Th ehea dofIon l e ans, a s the y
re cl in e  at  the ba n qu e t , on  t he  sho uld er  of C harm i des ; he mu tters inhis slee pof  things  seen therein ,but awakes  a s t he flu t e -players 
enter, whom Charmidesh as hire d f or hi s bi rthday su ppe r.  Th e s o ul ofCallia s, wh osit s on th e ot her  s ide of Cha r m ide s, fl as hesout; he 
counterfeits, wit h  li fe-like gestu re,  the p er son a lt ric ks off r iend
or foe; or  the thing sh ecould neve r  ut te r befor e, he f indsw ords fo r
now; th e secrets  o f li f e  ar e on his l ips.  It  is in th i s loo s en ing o f
t he lip sand  hear t, str i ctl y, th at Dio ny sus is  theDe liverer, 
Eleutherios; and of su ch ent husia sm,  or ecsta sy, is,  in a cer tain 
sense, an  ol der  patr ont han A poll o  h ims e lf. Even at Delphi ,  t hec e nt re of Greek i n spi ratio n a n d of t he r eligion of Apollo ,  his claim
alw aysm a int ain e d it se lf; and signsare  n o t  wanting  t hat Apollowas
 fills_for them_the place of Apollo;_he is
the_inherent_cause of_music_and poetry; he_inspires; he explains_the
phenomena of enthusiasm, as_distinguished by Plato_in_the Phaedrus,
the secrets of possession by a higher and more energetic spirit than
one's own,_the_gift of_self-revelation,_of_passing out of oneself
through words,_tones, gestures.  A winged_Dionysus, venerated_at
Amyclae, was perhaps meant to represent him thus,_as_the god of
enthusiasm,_of the rising up on those spiritual wings, of_which also
we hear something in the_Phaedrus of Plato.

The_artists_of_the Renaissance occupied themselves_much with the
person and the story_of Dionysus; and Michelangelo, in a_work still
remaining in Florence, in which he_essayed [19] with success to
produce a_thing which should pass with_the critics_for a piece of
ancient sculpture,_has represented him_in the_fulness, as it_seems,
of this enthusiasm, an image of_delighted, entire surrender_to
transporting dreams.  And this is_no_subtle after-thought of_a_later
age,_but true_to certain finer_movements_of old_Greek_sentiment,
though it may seem to have_waited_for the hand of Michelangelo before
it attained_complete realisation.  The_head_of Ion leans, as_they
recline at the banquet, on_the shoulder of Charmides; he mutters_in
his sleep_of things_seen therein, but awakes as the flute-players
enter, whom Charmides has hired_for his birthday supper.  The_soul of
Callias, who sits_on the_other_side of Charmides,_flashes_out; he
counterfeits,_with life-like gesture, the personal tricks of_friend
or foe;_or the things he could never_utter before, he finds_words_for
now; the secrets of life are_on his lips.  It is_in this loosening of
the lips_and_heart,_strictly, that Dionysus is the_Deliverer,
Eleutherios; and of such enthusiasm, or_ecstasy, is, in_a certain
sense, an older patron than Apollo_himself._ Even at Delphi, the
centre of_Greek_inspiration and of the religion of_Apollo,_his_claim
always maintained itself; and signs_are not wanting that Apollo was