Dionysus is arguably the most easy going Greek god. He was carefree and highly recognized for his personality. The mortal’s obsession of pleasure made Dionysus’s reputation and legacy continue long after his stories faded
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.
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...
From birth, Dionysus showed his mysterious and dual personality. Zeus was attracted to his mother, Semele, a princess of Thebes, and visited her in human guise and she became pregnant. She was tricked by Hera into asking him to reveal himself in his divine glory, whereupon she was instantly burned in the thundering fires. From her smoldering body a vine grew to shield the fetus, a bull-horned child crowned with serpents. Zeus removed him and placed him into his own thigh, from where Dionysus was later born; hence he is called twice-born. To protect the new infant from Hera's jealousy, Hermes carried him to Ino, Semele's sister, as a foster mother, and she started to raise him as a girl. Ino and her husband were driven mad and killed their own children. Then the divine child was changed into a young goat, and taken by Hermes to be raised by the nymphs of Mount Nysa. He was tutored by Silenus, often shown as a drunken satyr (Powell, 243). From these beginnings we can begin to detect some of the recurring images in the Dionysian religion: the vine, whether grape or ivy; the polymorphic, shape-shifting nature of the god; the madness and violence he brings with him; the wildness of nature, and the mountain nymphs and satyrs.
The main theme behind the "Phaedo" is Socrates' readiness and willingness to die, because of his belief of immortality. Socrates believed that when his body ceased to exist anymore, that his soul would leave and join that of the forms, where he would be eternally. Socrates believed so strongly in this, that not only did he not fear his death, he welcomed it. He believed that only when the soul separated from the body, is a person able to be truly enlightened and gain all knowledge. This "enlightenment" has been Socrates' life long goal of discovering the truth. Even at his hour of death, Socrates showed no hesitation. However, Socrates' friends did not believe so strongly, and took some great convincing by Socrates, to allow his friends to be okay with his death. The two proofs that Socrates used to convince his friends are the "Doctrine of Opposites" and the "simple and composite theory.
Christ resembles Dionysus in many ways. Is it possible that Christ is simply an extension of the Dionysian myth? Though the concepts of wine and faith unite the two, the idea of revenge compared to self-sacrifice separates the two deities. Dionysus fits the Greek understanding of vengeful and selfish God that bear more anthropomorphic traits than Godly traits. Christ, however, transcends human desires for revenge and acts in self-sacrifice. This is the key separation between them.
Kreon, with his enlightening realization and uncontrollable mishaps, possesses qualities that better represent a tragic figure. He also corresponds to more aspects of Aristotle’s tragic hero model than Antigone does: Kreon is of noble beginnings, is fated by the gods to suffering, faces misfortune from an error judgment or personality flaw, is pitied by the audience, is enlightened or changed, and becomes a vessel for the audience’s catharsis. In the end, tragedies are essentially plays in honor of Dionysus. Through Kreon’s experiences in the play, the audience is reminded of their place in relation to the gods. Just as with every other aspect of Greek culture, religion plays a fundamental role in dictating the Greeks’ interpretation and
Medea's first public statement, a sort of "protest speech," is one of the best parts of the play and demonstrates a complex, at times even contradictory, representation of gender. Medea's calm and reasoning tone, especially after her following out bursts of despair and hatred, provides the first display of her ability to gather herself together in the middle of crisis and pursue her hidden agenda with a great determination. This split in her personality is to a certain degree gender bias. The lack of emotional restraint is "typical" of women, and the strong attention to moral action is a common trait of heroes. Medea actually uses both of these traits so that her wild emotions fuel her ideals, thus producing a character that fails to fit into a clear mold.
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.
...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.
...trated this by betraying the trust that people had in men and the gods with his foolish and reckless action against Cadmus and his family. Dionysus refuted rational thinking by letting his emotions for revenge stand in the way of his contemplating how a god should behave. In doing all the things Dionysus has destroyed the ideal way one would expect a god to conduct their self. Euripides portrays a Dionysus that single handily destroys all the cultural values of Hellenic Greece; however, Euripides is able to capture the changing values of his audience and pave the way for the culture of Hellenistic Greece to begin to dominate societal thought.
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.
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.
Throughout Euripides’ Bacchae, there are plot elements which seem out of place for tragedy. However, these out of place plot elements serve as a comedic relief and a way to further the underlying thematic elements of the play. One of these seemingly out of place plot elements is the comedic way Agave handles the death of her child, which indirectly furthers the theme of feminism in the play. Without the comedic elements, such as Agave, the audience would cease paying attention after uncomfortable situations, such as the brutal death of Pentheus. Therefore, the way Agave handles the death of her son emphasizes the underlying theme of feminism, because her behavior helps to refocus the audience’s attention to the play.