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Impact of dionysus on greek social culture
Euripides the bacchae mythology criticism
Dionysus'influence on modern culture
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Recommended: Impact of dionysus on greek social culture
Reading Response: Euripides’ The Bacchae Euripides’ The Bacchae is a play about the cult of Dionysus, and more specifically about what happened to the city of Thebes after the king, Pentheus, prohibited the worship of Dionysus. The play begins with a lengthy monologue from Dionysus, in which he describes his birth, and journey throughout the East. As the first character to appear in the play, he also explains the reasons why future events will take place. He describes the actions of his mother’s sisters, his aunts, and the actions of the king, Pentheus. Dionysus is a vengeful god, and the message that this play sends to the audience is that “When insulted, gods do not forgive” (line 1818). As Dionysus describes in his opening monologue, he was born from Zeus’s thigh after his …show more content…
mother was struck down by lightning because of “Hera’s spiteful rage” (line 10). He describes his mother’s (Semele) death with sadness, and introduces the character of Cadmus, his mother’s father and his grandfather, who made a tomb and temple out of the ruins of Semele’s house. Dionysus then describes his journey through Asia, and says that he left those cities where people worship him freely to come to this city of Thebes, and to bring to the city “a new awareness” (line 28). Upon his return to the city, Dionysus finds that both his mother and himself are being snubbed by the people of Thebes, and namely by members of his and his mother’s own family. After this brief introduction of his own background, Dionysus goes on to describe the hateful actions of his mother’s sisters, his aunts.
He says that they scorn both him and his mother, saying that they “gossiped that this Dionysus is no child of Zeus, that Semele having slept with some man proceeded…to attribute her sinful conception to God. No wonder Zeus struck her dead…” (line 34-38). So after hearing about the words and actions of his aunts, he drives the three of them mad, and they are compelled to go into the mountains to worship Dionysus along with the Bacchae (followers of Dionysus) and the rest of the women in Thebes. The god Dionysus is taking revenge against the city of Thebes, and even says that the people of the city “…must learn…how much it costs to scorn God’s mysteries” (line 48-50). But the vengeance is not only towards the entire city, but is made more personal because the people that are scorning his mother and his own divinity are his mother’s family. As the reigning king of Thebes, Pentheus, his own cousin, has outlawed worship of Dionysus, and the god cannot let this injustice stand. He even describes the events that follow as a score that must be settled (line
61). The main events of the play consist of the dialogues between Dionysus (who has disguised himself as a mortal man who worships Dionysus) and Pentheus, as well as the bloody death of Pentheus at the hands of his mother and aunts. Although it is made quite clear that Pentheus is doomed from the start of the play, he receives many warnings of his impending death and destruction from both his grandfather, Cadmus, and from Dionysus himself. Cadmus urges his grandson to accept Dionysus as a god, and reminds him of the terrible fate of another member of his family, Actaeon, who had snubbed the goddess Artemis and was torn limb from limb by his own hounds (line 397-408). Dionysus later offers Pentheus a chance to gain his favor through sacrifice, knowing fully that Pentheus would never take this offer. Instead, Pentheus plans to fight the Bacchae in the mountains. And so even after hearing the warning signs of his own doom and refusing to back down, Pentheus is convinced by Dionysus to go to the mountains where his mother and aunts are in a trance. Because they have been driven mad by Dionysus, the three women see a lion instead of Pentheus, and tear him apart, limb from limb. His mother, still in a trance and thinking she had just killed a lion along with her sisters, then parades her son’s head through the city. Her father, Cadmus, then makes her realize her actions, and Dionysus reveals himself as a god to them. Agave is banished along with her sisters for her actions against the god and his mother. Throughout the play, the message that the gods should not be questions, that the gods should not be scorned, is restated and reinforced by the events that take place. Cadmus says so in his plea to his grandson Pentheus, and Dionysus at the end of the play before banishing his aunts. He says “I was mocked at, chained, thrown into prison. Men like Pentheus who abuse their power in defiance of the Gods shall ever rediscover the inexorable terror of divine justice” (line1804-1806). Although this play is specifically about Dionysus and what happened when his divinity was brought into question, the message of the play can be applied to all gods and divine figures. The play even mentions the vengeance of other gods, like Hera and Artemis, whose rage brought destruction to mortals. “When insulted, gods do not forgive” (line 1818).
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.
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.
The contrast between men versus women is an important opposition in both plays. The women in the Greek society have no control of their life; the men are in control (Barlow 159). In The Bacchae Dionysus underminded the Greek society point view on women and empowers them. Pentheus is furious about Dionysus; he states in this first speech to his Grandfather Cadmus and Tiresias that the women have betrayed their houses to go off into the mountains to dance to Dionysus and are committing sexual acts (Bacchae 217-224). Pentheus is offended that an “effeminate looking stranger” has come into his land and is giving freedom to the women (353). There is a binary opposition between the way Greek society and Pentheus are treating the women (men) versus the way Dionysus treats them (women).
In Greek Mythology a rivalry always occurs between certain Gods and Goddesses. In the case of Apollo and Dionysus there is no exception. They are half brothers, both sons of Zues and they compete just as most brothers do. Though the two Greek Gods, Apollo and Dionysus, were actually very similar in some ways, they severely contrasted in others.
Both Zeus and his son Dionysus are no different in this case. Zeus has continually been portrayed as wrathful and violent, he has no problem enacting revenge on another if he feels the victim deserves the punishment. In the story of Prometheus, Zeus tortures Prometheus for his thievery sentencing him to a cruel punishment, “Everyday he sent an eagle to feed on his captives liver, which, however much it was devoured, always grew back again” (35). This excerpt tells of how Zeus is often cruel, unforgiving and quick to enact revenge on his enemies. Even though Zeus is immortal and thought to be the figure of perfection, he still endows many flawed characteristics. He even goes as far as taking pleasure in the pain and agony Prometheus faces for sneaking behind Zeus’s back. I feel this points to how even Zeus isn’t perfect in nature for he often falls prey to the destructive human emotion: anger. Like his father, Dionysus is also quick to enact revenge on his enemies through vicious and bloody ways. In the tale of Pentheus, Dionysus gladly lets the King Pentheus be ripped to bloody shreds for mocking his divine ceremonies. “First they hurled stones, boughs torn from trees, and their
...ne and kill all of the suitors that took advantage of his wife Penelope’s hospitality for so many years. This story shows that gods from any religion, like the Catholic faith and Greek religion, show forgiveness for almost anything. Redemption is something we all receive.
In Euripides’ play The Bacchae, the ideals that were the foundation of Greek culture were called into question. Until early 400B.C.E. Athens was a society founded upon rational thinking, individuals acting for the good of the populace, and the “ideal” society. This is what scholars commonly refer to as the Hellenic age of Greek culture. As Athens is besieged by Sparta, however, the citizens find themselves questioning the ideals that they had previously lived their lives by. Euripides’ play The Bacchae shows the underlying shift in ideology of the Greek people from Hellenic (or classical), to Hellenistic; the god character Dionysus will be the example that points to the shifting Greek ideology.
The next scene brings Pentheus and Dionysus face to face. Pentheus starts the conversation thinking he has the upper hand because he has more power over the situation. 'Untie his hands. Now I have him in my net, no amount of agile tricks can help him slip away' (25). However, it is clear to the audience that Dionysus is in control. He is provoking Pentheus by responding with quick, saucy remarks. 'Those who look for filth, can find at the height of noon' (28). Pentheus becomes frustrated. He needs to feel in control so he begins to hurl threats at Dionysus, 'I'll throw you in my dungeon.' Throughout this scene, Dionysus drops numerous hints that he is indeed the son of Zeus, 'He (Dionysus) is here now. He sees what is being done to me' (29). He for...
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 play is about a strong-willed woman, Antigone, defying the laws of a proud king, Creon. Antigone is torn between her devotion to the gods, her brother Polynices, and her loyalty to the king. Creon, ruler of Thebes, issued the order to leave the traitor Polynices’ body unburied.
In the play the dominance of the gods is shown again and again. In the second stasimon after Tiresias leaves the chorus chants "Zeus and Apollo know, they know, the great masters of all the dark and depth of human life", reasserting the belief in the god's power. At the very opening of the play, the priest who converses with Oedipus says ". . . You cannot equal the gods, your children know that. . . ", proving again the Greek belief that the gods are the height of power. However, it is not only the people that revere the gods. After Oedipus blinds himself, Creon takes control of Thebes. When Oedipus asks to be banished, Creon replies "Not I. Only the gods can give you that", again acknowledging the higher authority of the gods.
Greek tragedies began at a festival in honor of Dionysius, who was the god of wine. At the early festivals, drinking, quarrels, and sexual activity occurred frequently. Later on, tragedies gained much more respect and were taken very seriously. The plays dealt with man's relationship with god(s). These plays also dealt with a specific instance of life. The chorus wore goat-skins and served a great purpose in the tragedies, themselves. Thespis, the father of the tragedy, created an actor who talked with the leader of the chorus to further make the importance of the chorus seen.
Theater was an important part of Ancient Greek Civilization. History of Greek theatre began with religious festivals which aim to honor Dionysus, a god. During the festivals some citizens sing songs and perform improvisation plays and other participants of festivals judges this performances to decide which one of them was the best. These plays form the foundation of the Greek Theatre. Because of the competition between performers to create best performances, plays gained an aesthetic perspective and became a form of art. So, theatre as a part of religious rituals took attention of people and gained an importance in Ancient Greek Society.
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.
“Gods can be evil sometimes.” In the play “Oedipus the King”, Sophocles defamed the gods’ reputation, and lowered their status by making them look harmful and evil. It is known that all gods should be perfect and infallible, and should represent justice and equity, but with Oedipus, the gods decided to destroy him and his family for no reason. It might be hard to believe that gods can have humanistic traits, but in fact they do. The gods, especially Apollo, are considered evil by the reader because they destroyed an innocent man’s life and his family. They destroyed Oedipus by controlling his fate, granting people the power of prophecy, telling Oedipus about his fate through the oracle of Apollo, and finally afflicting the people of Thebes with a dreadful plague. Fundamentally, by utilizing fate, prophecies, the oracle of Apollo, and the plague, the gods played a significant role in the destruction of Oedipus and his family.