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...
The god, Dionysus, fills an integral role in Grecian Myth. According to Euripides' Bacchae, Dionysus represents the animalistic and mystic life force that connects humanity to its innate earthy roots—roots that are illogical, chaotic, and instinctual. In this paper I will be discussing this aforementioned mystic life force and its existence in ancient Greece's supremely logical society.
Illustrated in Aristophanes comedies, sex with one’s female slaves was tolerated in Greek society (Freeman, 224). There was also a difference between sexually oriented entertainment, such as dancers or plays, and women who actually engaged in prostitution (Freeman, 217). In Homer’s tales of heroes he portrayed women being readily available simply to meet sexual drives, and in his tales they were not the same women who were chosen for wives and were not shown the same respect as a wife (Freeman, 137). This illustrates the relationship between how and what the Greeks worshiped and how they lived out their own lives, including how they related to sexuality. Sexuality was represented and worshiped through the goddesses Aphrodite and Dionysus, Aphrodite being the more tame goddess of sexuality, while Dionysus was a patron of sexual abandon (Freeman, 237-238). The festivals celebrating Dionysus were affairs where the attendees could engage in unrestrained sexual activity, essentially purging oneself of unruly sexual desires and making self-discipline more accessible the rest of the year (Freeman, 242 & 270). Aphrodite on the other hand, inspired Sappho to dedicate herself and to lead a group of women in worshiping the goddess, and throughout her life she wrote sensual, though sometimes subtle, poetry which is valued for its quality even today (Freeman,
Dionysus knows that due to being a foreign god, the Greeks do not accept him and are ignorant of his rank. Instead of taking this information into consideration, Dionysus instead decides to prove his superiority by destroying Pentheus for disrespecting him. He seethes stating that the “city has to learn…making mortal man endorse the fact that [He is] a god.” (The Bacchae 397). This blatant challenge to humankind conveys Dionysus’ desire to forcefully correct those who are ignorant of his reputation as a god and force their respect through fear and violence. This is further proven when he succeeds in his plan, by driving Agave to conduct sparagmos on her own son, and becomes distraught at losing their son. Although Agave is Dionysus’ follower, he gives her no mercy as Pentheus is her son and she must be punished as well. As Cadmus begs for mercy, Dionysus refuses to listen to his pleas and insists upon punishment. He tells Cadmus [that he] shall be changed into a snake, and [his] wife, Ares’ daughter…shall take reptilian shape as well.”(The Bacchae 453). Dionysus’ wishes to prove his nobility by punishing those he is nonetheless related to and having no mercy. Dionysus knew of Pentheus’ lack of respect for him and instead of proving himself, chose to create a wicked and sadistic plan in which he could prove to Pentheus his authority. Dionysus is seen using those near
Dionysus appearing in The Bacchae is the embodiment of the challenge of ideals in ancient Athens. Ancient Greek societies were pervaded by two types of honor: dignity and respect. Although Dionysus exemplifies these two themes, he clashes with the rest of Athenian traditions. These conflicts with tradition are what make him the adversary of Athenian custom. He clearly is in conflict with Athenian views of age, divinity, and even gender. These contrasts were Euripides’ attempt to capture the facades of Athenian culture.
...n prevented. My readings lead me to believe that it was only a matter of time until Athens collapsed. Nothing unfortunately can stand forever. That inevitability cannot be overcame because to have a true opportunity people would have to have infinite amounts of knowledge about the situation and the effects of every possible decision. Fortune can only favor a certain entity for so long. While it is still tragic that the institution of language fell to such a trivial foe of self desire nothing can stay forever. Thucydides would agree that the greatness of Athens could have been extended, but for how much longer?
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.
Reading the Odyssey, a reader will marvel at the wonderful feats Odysseus accomplishes. But behind all of these astounding adventures is the presence of the Gods of Olympus who either assist Odysseus in his journey to return to Ithaca or do their best to deter him from his mission. From the powerful gods of Mount Olympus to lesser-known gods, Odysseus seems to attract the attention of many powerful immortal beings. Odysseus is gifted with the ability to recognize the effect the gods have on his journey to get home, and thus, his life. It is said that Odysseus represents all people who live, because they are on their own journeys of life. The impact that the gods have on Odysseus’ life can be related to the effect religion has on people living in today’s world. The gods and goddesses of Odysseus’ time went out of their way to change his life. Whether Odysseus deserved this special attention or not, the truth is that Odysseus’ story would not be the epic it is without the presence of the Greek gods. Athena, Odysseus’ protector, Poseidon, who holds a grudge against Odysseus, and Calypso, who dearly loves Odysseus, each affect Odysseus’ life in such a way that without their presence, the Odyssey would not be the same.
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.
Prometheus Bound is quite different from other tragedies in that it is peopled entirely by gods. The play focuses on the story of Prometheus, and we have versions of this myth in Hesiod's famous works. There is reason to think that the author of Prometheus Bound was not only acquainted with Hesiod's version but actually drew on Hesiod directly in this play. This essay therefore aims to establish in what ways the author of Prometheus Bound seems to have drawn from Hesiod's version of myth, in what ways he has diverged from it, and what reasons he might have had for making these changes and innovations. This might therefore highlight any particular emphasis or purpose of Prometheus Bound and what its author might have been trying to get across. Though there is not space in this essay to discuss the problems of attributing this play, it must be recognised that this ambiguity of authorship and dating makes it even more difficult than usual to look at views and purposes behind the play.
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 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).
Of all the things Yiannopoulos is known for, it is his burning hate for feminism and women’s rights. Yiannopoulos frequently appears on news networks to debate feminists and say that women do belong in the workplace. In a talk on a college campus, Yiannopoulos explained that “The only bit of feminism left is that which is more interested in hurting men than empowering women” (Thornberry and Nguyen, "Milo Yiannopoulos Talks on Campus, Targets Feminism, Rape Culture and Muslims"). Yiannopoulos displays his pronounced fear of women. Identically, Pentheus sees women as threatening as the go out to the mountains to perform bacchic rituals. During Pentheus’ dialogue with Tiresias and Cadmus mentions, “but I hear about disgusting things going on / here in the city—women leaving home / to go to silly Bacchic rituals.” Pentheus sees the Bacchic rituals as a rebellion against men. When the women leave for the mountain, they are doing acts that would be prohibited when men are around. Pentheus immediately tries to quell the Bacchic rituals.
The Differences between Apollo and Dionysus are not difficult to see. Though both Gods are associated wi...
Euripides. "Medea." The Norton Anthology of World Masterpieces. Ed. Sarah Lawall. New York and London: W. W. Norton & Company, 1999.