He blurs the line between real and unreal.

Erynn Kim, Dionysus as Metaphor: Defining the Dionysus of the Homeric Hymns
In Hymn 7, however, the poet does not introduce the epithet first. Instead, the narrator describes how the transformed Dionysus roars loudly (μέγα δ᾿ ἔβραχεν, “he roared loudly,” l.45), and then reveals himself with the epithet ἐρίβρομος (“loud-roarer,” l.56). Unlike the other two Hymns in which the poet explains the epithets associated with Dionysus, Hymn 7 presents Dionysus the character showing how his story provides the folk etymology for his epithet. In this way, the folk etymology in Hymn 7 works on a metapoetic level. The poet is no longer alone in recognizing the function of the hymn as a way to folk etymologize a formulaic phrase. Dionysus transcends the barrier between poet and character to explain the epithet. Thus, Dionysus not only conquers the sailors but also controls the text itself by subsuming the voice of the poet. Dionysus’ dominance over the text can be seen in the illusion of the sea turning into wine, a phenomenon that would certainly lead the audience to think back to the epithet οἴνοπα πόντον “wine-dark” in line 7. The “wine-dark sea” is an utterly commonplace formula in epic poetry and is not associated with the god Dionysus in particular. The epithet “wine-dark” refers to the color of the sea and has parallels in other Near Eastern traditions. In Hymn 7, however, Dionysus takes the epithet and makes it his own. Dionysus is metaphor in two senses: he is metaphor in that he uses illusion to make sense of the literal facts about his person, but he is also metaphor in that the literal experience of the poem brings to life figurative textual formulae. The narrative persona acts as a bridge between the poet and Dionysus the character, muting the poet’s power to provide explicit explanations of formulae and instead allowing Dionysus to transcend the text and take over the poet’s voice. His power is all-consuming; he is metaphor personified, and the text, structured as metaphor, mirrors this. The shape of the poem is the shape of Dionysus; Dionysus is in the poem but is also the poem itself. On a macro level, Dionysus’ power as metaphor overtakes the structure of the text. On a micro level, it overtakes the formulae of the text. Thus, Hymn 7 is a poem about Dionysus’ power, a “mental possession” that begins with the very first action of the poem, the poet’s remembrance. Introducing the poem with the word μνήσομαι in line 2, the poet begins the hymn with a root derived from Proto-Indo-European *men–  “think,” a poetic and religious root associated with singing and mental activity. Thus, from the very beginning, the poet not only yields to the narrator but also surrenders himself to Dionysus, who comes to life in the text and as the text.