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The character of Dionysus
The character of Dionysus
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The Bacchae: the Balance Between Control and Freedom “The Bacchae” answers the question if irrationality could survive in a structured world. Dionysus the god of wine and festivals brings about chaos and barbarism. The introduction of Dionysus is of him and a flock of bacchus women returning to Thebes, the place of Dionysus’ birth, to punish the city for disrespecting his godly right. Pentheus is the appointed ruler of the city and main opponent of Dionysus. He tries to limit the spread of bacchus behavior, but Dionysus breaks free each time Pentheus captures him. Without the need of irrationality in a structured world society would tear apart. A world must consist of irrationality and rationality to have balanced society. Dionysus symbolizes the untamed irrationality that cannot be controlled despite the relentless efforts of Pentheus the civilized rationality. He becomes infatuated with apprehending Dionysus, but suffers a horrible death when Dionysus manipulates him into dressing up as a woman and retrieving the maenads from the wild and bring them back to civilization. This leads to his own mother, Agave, and the rest of the savage women of the mountains to tear him apart limb from limb. Dionysus watches his violent punishment play out and witnesses the once proud Pentheus become a …show more content…
Dionysus and the wild women called maenads retract to the mountainside and woods where they are free of the restraints of the city. They perform animalistic rituals and survive off the exhilaration of freedom from the chains of civilization. The mountain represents the wild irrationality, while the city is made up of laws and order. Pentheus and his people show the disgust they feel for the barbarism of the maenads in mountain. Pitying their condition as mountain women. Thebes, therefore, represents ordered rationality. This demonstrates the coexistence of irrationality and
In this essay I will examine the war-of the-sexes taking place in The Eumenides, the final play of The Oresteia. The plot of The Eumenides pits Orestes and Apollo (representing the male gods and, to a certain extent, male values in general) against the ghost of Clytemnestra and the Furies (equally representative of female values.) Of more vital importance, however, is whether Athene sides with the males or females throughout the play.
This distinction between men and women is emphasized in Euripides’ The Bacchae. It is the women, and not the men, who are allured to follow Dionysus and practice his rituals: dancing, drinking, etc. It is seen as problematic to Pentheus and something must be done: “Women are laving home / to follow Bacchus, they say, to honor him in sacred rites. / Our women run wild upon the wooded hills, dancing to honor this new God, Bacchus, whoever he is” (215-218). There is a sense of lost, a need to retrieve the women, and return them to their place. “Our women run wild” creates the comparison of what their women would do amongst men and their society, as well as a sense of possession of the women (217). Agave recognizes the freedom from her daily confinements of her home when amongst the Bacchantes: “I quit my shuttle at the loom / for a higher calling, the hunting of wild beasts / with my bare hands” (1214-1218). There is a contrast of sitting behind the machine, the loom, and creating, or in this case destroying, by her own hands. Is it this contrast what drives the women of Thebes towards Dionysus? For what better creates a feeling of accomplishment then achieving a finished product by one’s power alone? The women are consequently pushed towards Dionysus because of the freedom he offers.
...t is also important to notice that every character seems to have wide eyes and dark circles drawn under their eyes. This is perhaps one of the most important aspects because the eyes show the underlying theme of complete inebriation. This in turn, proves the impact that Dionysus had on his followers as well as those who he conquered. Wine brought great power to its creator, and made a lasting impact on history. With these devices of communication, we are able to see that the follower wanted to capture Dionysus’s legacy by creating a sarcophagus of remembrance in his honor.
Euripdies' The Bacchae is known for its celebration of women's rebellion and patriarchial overthrow, claims which hold truth if not supremely. The Thebans, along with other women, pursue the rituals and culture of Dionysus’s cult which enacts their rebellion against men and the laws of their community. However, this motion to go aginst feminine norms is short lived as they lose power. When Agave comes to her epiphany, Dionysus is the one who is triumphant over Pentheus's death, not Agave or her sisters These women must be punished for their rebellion against both men and community. This female power is weakened and the rebellion muted in order to bring back social order and also to provide the story with a close. Female rebellion actually becomes oppressed through The Bacchae due to its conseqences and leading events of the play. This alludes to the message that women who do not follow traditional roles of femininity are subject to the destruction of an established society.
Cloris forms a hyper-masculine, godlike image of Lysander which places an immense pressure on him to live up to her expectations. Although she is simply in accordance with the ideals of men that have previously been formulated by others, her compliance with such images only creates unrealistic expectations that will likely end in disappointment. The narrator states of Cloris’ discovery, “Finding that god of her desires disarmed of all his awful fires,” (112-113) which dramatizes Lysander’s downfall. The once fearsome thing is now characterized as, “cold as flowers bathed in the morning dew,” (114) becoming an altogether feminine portrait of something that is intended to be idealized as the epitome of manliness. His premature ejaculation is the ultimate sign of his descent into a non-masculine figure and a disappointment on both ends. Both Cloris and Lysander are similarly chastised only by society’s expectations, Cloris being a woman with lust and Lysander a man without his erection, and are unable to experience guiltless or unpressured pleasure,
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
The image of seductresses is a recurring motif in The Odyssey. These women are a temptation to Odysseus. They attempt to keep Odysseus from accomplishing his goal: his homecoming. Circe is a bewitching goddess. She entices Odysseus’ crew into her palace with her enchanting voice. However, after she feeds them, she promptly turns them into pigs. Circe also succeeds in enticing Odysseus; he stays with her one year as her lover. It is so long that his crew declares that it is “madness” (326). They say that it is “high time” that Odysseus thinks of his homeland (326). Later on, Odysseus and his crew encounter the sirens. Knowing the danger they pose, Odysseus has all his men’s ears stopped up with wax. However, Odysseus wishes to hear their song; so he asks his crew to tie him to the mast. The song of the sirens is so sweet and enticing. Their “ravishing voices” almost make Odysseus forget his desire to return home (349). His heart “throbbed” to listen longer; he signals for his men to let him go free. The grea...
The theme of women in the Odyssey is essential in establishing one of the if not the main message in the poem. The paradoxical messages give insights into the lives of the characters and generalizations into the reader's lives. Although this theme would have a noticeable affect on the poem in its absence, it is odd that in a story about war and adventure that they hold such dominating roles. In the setting of the Odyssey, women did not have a status that measured up to that of a man. However, whether seen as demonic or angelic they still hold in the example of Odysseus a significant role in the determination of the final fate of a man.
However, his journey isn’t over yet. This last leg of Odysseus’s journey is perhaps the most important and crucial. Odysseus’s nurse and maidservant, Eurycleia is the first woman in Ithaca to know that Odysseus is back after she recognizes the scar on his leg while she is washing him. Eurycleia vows to keep his identity a secret. Odysseus’s wife, Penelope has stayed faithful to Odysseus for all the years that he was gone. Penelope was consistently unweaving her web to the delay the suitors. The reader even grows sympathetic for Penelope as “we see her struggle to make the virtuous choice about her marriage, despite pressures from her suitors, her son’s endangered situation, and her own uncertainty about Odysseus’s survival” (Foley ). Finally, Odysseus reveals his identity and Penelope is bewildered, but quickly embraces her husband after he tells her the secret of their immovable bed. It is the faithfulness of Penelope and nurse Eurycleia that insures Odysseus’s survival to the very end.
In The Bacchae, Euripedes portrays the character of Pentheus as an ignorant, stubborn, and arrogant ruler. These character flaws accompanied with his foolish decisions set the stage for his tragic downfall. Pentheus' blatant disregard to all warnings and incidents, which prove that Dionysus is truly a god, lead him to his own death. In the end, his mistakes are unforgiving and his punishment is just.
Homer compares the crying Odysseus to a woman who weeps for her husband who died in battle. The weeping woman is described in a very dramatic scene in order to reflect the intensity of the sorrow that Odysseus is experiencing. The “woman weeps, flinging herself across the fallen body of her dear husband.” As she is “clinging to him, [she] wails,” and then “the enemies behind her strike her back and shoulders, then they carry her away to slavery and trials and misery.” The woman goes through a great deal of hardship, which explains why “her cheeks are wasted with pain.” Not only does her husband die, but the enemies strike her with their spears and take her away to suffer more. By comparing Odysseus’s crying to the woman weeping in this intense scene of misery, Homer is able to show the reader the degree of sorrow that Odysseus is feeling.
As a ruler of the state one must be viewed as masculine and in control, however there are many examples in Euripides writing that leads one to believe deep inside he is not who he claims to be. One way in which this is evident during the play is that Pentheus is constantly negating his own viewpoints on masculinity and his outlook of women outwardly. However there are many actions he might not openly say that may lead one to believe he is confused about his gender identity. In the beginning of the play Pentheus criticizes the feminine appearance of Cadmus and Dionysus, however he finds himself dressed as a women and enjoyed it. Pentheus initially has a deep hatred for the women who abandoned their homes for the mountains to commit what he thinks are vile sex acts. Yet as the play progresses he becomes extremely curious about what the women on the mountainside are doing under Dionysus’ order and when the opportunity presents itself to spy on the women he is ecstatic. Pentheus makes it seem as if he needs to witness these women, not for the sake of the state, but for his personal voyeurism. His obsession with the women’s hidden behavior may reflect not sexual interest, but a desire to know more comprehensively a group with which he identifies himself as, but the social norms in society have restricted him from expressing. Between his
Many different interpretations can be derived from themes in Euripides's The Bacchae, most of which assume that, in order to punish the women of Thebes for their impudence, the god Dionysus drove them mad. However, there is evidence to believe that another factor played into this confrontation. Because of the trend of male dominance in Greek society, women suffered in oppression and bore a social stigma which led to their own vulnerability in becoming Dionysus's target. In essence, the Thebian women practically fostered Dionysian insanity through their longing to rebel against social norms. Their debilitating conditions as women prompted them to search for a way to transfigure themselves with male qualities in order to abandon their social subordination.
The first major female character introduced in this epic is Penelope. Penelope is the wife of Odysseus, and the mother of Telemachus. She is portrayed as a strong-willed widow, who even after not seeing Odysseus for twenty years, keeps her trust in her husband to return home. The main tool is the rule of law, but even before laws customs could be used” (rwaag.org).
In this essay, I hope to provide answers to how the actions of Hippolytus and Phaedra relate to the gods, whether or not the characters concern themselves with the reaction of the gods to their behavior, what the characters expect from the gods, how the gods treat the humans, and whether or not the gods gain anything from making the humans suffer. Before we can discuss the play, however, a few terms need to be defined. Most important would be the nature of the gods. They have divine powers, but what exactly makes the Greek gods unique should be explored. The Greek gods, since they are anthropomorphic, have many of the same characteristics as humans.