One of the most well-known pieces of Greek tragedy is Euripides’s The Bacchae, a tale which chronicles the life and ultimate revenge that the Greek god Dionysus would take out upon his mortal family. Through this tale Dionysus can be viewed in multiple lights. He varied his appearance from that of a great leader, to that of a master of the great art of manipulation. With that said, no image was grander than how he showed that the great Greek gods are not known for being forgiving creatures. Dionysus proved this by being utterly brutal and relentless. With these actions, he showed that the gods should, in most cases, be well and truly feared for their potential retaliation and retribution.
Euripides’s The Bacchae tells the story of Dionysus, son of the Greek god Zeus and the mortal Shemele. Conceived through an illustrious affair between the two, things got complicated when Zeus’s second wife Hera found out. Hera set out to make her husband suffer; she came up with a devious plan, tricking Shemele into convincing Zeus into revealing his true form to her. Thus after initially saying no, Zeus is persuaded and eventually appears to Shemele in the form of a lighting bolt thus causing her to die seemingly instantaneously from his presence. Thankfully for Dionysus, at the very moment of her death, Zeus other son Hermes, whom he had conceived with the goddess Maia, saved his brother’s life by placing and sewing his sibling within his father thigh to protect him from the wrath of Hera until he was fully grown and ready to be born into the world. Unfortunately for Dionysus, his mother’s mortal family, whom he was returned to after his birth, did not believe in his true parentage. Believing “That Semele having slept with some man/ proceed...
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...on of drinking, and supporting of the self-indulgent urges that humans feel. With that said one of the biggest correlation and greatest differences is drawn between Dionysus’s actions towards Penteus and Jesus’s actions towards Pontius Pilate. While Jesus may have turned a blind eye towards his abuser, Dionysus sought out to make his cousin suffer, ultimately for something that he wasn’t even a part of. Dionysus throughout his cult enacted revenge. Instead of having followers that did so through their sheer belief in him, he used his powers of corruption to bend their will towards his way of thinking, and if they didn’t think in a similar vein he ended their life. He loved being the center of attention, and if he wasn’t, there was clearly a problem Dionysus proved that not all gods are nice, and that at the end of the day revenge is clearly a head best served cold.
One day, Zeus made Hera a bit jealous (as brothers and sisters in Kentucky can be) when Zeus was sleeping around with this and that female as various wild animals. Well, Hera was enraged so much, that she spontaneously conceived a child. I would LOVE to see something like that. She conceived and when Zeus noticed that Hera was pregnant, he was very angry himself. Moments later, she gave birth to Hephaistos. However, he was so very ugly and had a bad leg, that Hera tossed him to earth and disavowed his birth.
In conclusion, the Greeks had many fear, but they had more fear for the gods. The Greeks feared the sea for it ability of taking life. And life turns out to be one of the greatest possessions for the Greeks. Ancient Greeks feared the Gods because they also had the ability to take life away. The gods were frightening powerful immortals that were inconsiderate toward the puny little Greeks. For example, Poseidon a reckless god, he ravaged Odysseus and caused him to wander off at sea. He took no pity on him; he just wanted to torture him for not sacrificing in his name. Calypso as beautiful and charming as she was, her obsession caused her to be a meddlesome goddess. Athena as clever she was in helping Odysseus to find his way home, she was also a meddlesome God.
In what is noted as one of Plato first accounts, we become acquainted with a very intriguing man known as Socrates; a man, whose ambition to seek knowledge, inevitably leaves a significant impact on humanity. Most of all, it is methodologies of attaining this knowledge that makes him so mesmerizing. This methodology is referred to as Socratic irony, in literature. In any case, I will introduce the argument that Plato's Euthyphro is extremely indicative of this type of methodology, for the reason being that: Socrates's portrays a sense of intellectual humility.
The Greek gods were portrayed as humans, which meant that they were not perfect. That is, the gods made mistakes, felt pain (e.g. Aphrodite in love with the mortal Adonis), and succumbed to anger and their tempers (e.g.
The Differences between Apollo and Dionysus are not difficult to see. Though both Gods are associated wi...
Aside from all the prodigious number of Greek tragedies in history, stands a collection of Greek comedies which serve as humorous relief from the powerful overtone of the tragedy. These comedies were meant to ease the severity and seriousness sometimes associated with the Greek society. The ideas portrayed in the comedies, compared to the tragedies, were ridiculously far-fetched; however, although abnormal, these views are certainly worthy of attention. Throughout his comedy, The Clouds, Aristophanes, along with his frequent use of toilet humor, ridicules aspects of Greek culture when he destroys tradition by denouncing the importance of the gods' influence on the actions of mortals, and he unknowingly parallels Greek society with today's. Aristophanes also defiantly misrepresents an icon like Socrates as comical, atheistic, and consumed by ideas of self interest, which is contradictory to the Socrates seen in Plato's Apology or Phaedo.
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.
Throughout the play, the audience cannot help but feel merciless towards Pentheus. In his opening scene, Pentheus does not heed the warnings bestowed upon him by Teiresias and Cadmus. Before Pentheus even meets Dionysus, Teiresias offers him wise advice:
Aeschylus’ Prometheus Bound portrays a greek god detained by a superior for disobedience against the latter’s rule. On the other hand in Euripides’ Hippolytus portrays lust and vengeance of the gods and the extent that they can go to to avenge it.
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.
Sophocles’ Antigone and Euripides’ The Bacchae are indubitably plays of antitheses and conflicts, and this condition is personified in the manifestation of their characters, each completely opposed to the other. Both tragedians reveal tensions between two permanent and irreconcilable moral codes; divine law represented by Antigone and Dionysus and human law represented by Creon and Pentheus. The central purpose is evidently the association of law which has its consent in political authority and the law which has its consent in the private conscience, the association of obligations imposed on human beings as citizens and members of state, and the obligations imposed on them in the home as members of families. Both these laws presenting themselves in their most crucial form are in direct collision. Sophocles and Euripides include a great deal of controversial material, once the reader realizes the inquiries behind their work. Inquiries that pertain to the very fabric of life, that still make up the garments of society today.
Throughout The Bacchae, Euripides uses the Greek myth of Dionysus’s revenge on Pentheus, the king of Thebes, and his mother, Agave, to compare the complex worlds of nature versus man. From the entrance of the royal palace of Thebes there are two paths, the first of which leads east to the wilderness of Cithaeron, while the other leads west to the ancient city of Thebes. Is it possible that these two locations are merely the random setting of this Greek Tragedy, or are they meant to give deeper insight into the delicate balance between rationality and savagery in human society? The answer is clearly the latter. The opposing ideas that these locations represent, along with Euripides’s use of conflict, juxtaposition, extended metaphor, irony, and imagery, help to fully convey one of the overall messages of his work: not only will there always be a place for the irrational within an ordered society, but it is necessary in order for a healthy society or mind to thrive.
“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.
To begin with, the ancient Greeks explained the creation of the universe, in particular the Earth and its elements, by a system of anthropomorphism in which their gods are human-like and are representatives of these elements. For example, Zeus is the god of heaven while Hades is the underworld lord (Hesiod, p.145). Unlike the Christians’ god who is “flawless”, the ancient Greeks’ divinities are portrayed as humans and are far from perfect. Their gods behave like ordinary people except they are immortal and have supernatural powers. Like any human being, the Greeks’ gods have love, jealousy, sadness, etc. For instance, in Euripides’ Bacchae, Zeus falls in love with Semele, which makes Hera becomes jealous and tries to kill Semele and Dionysus (Euripides, p.209). The Greeks even have a physically imperfect god, Hephaestus. This is to say that the gods’ attitude toward mortals is affected by how people treat them as the Greeks’ gods have emotions like humans.
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.