by current authors, the contradictions between sanity and madness are often explored in order to make compelling arguments. One such work, in which madness takes a central role, is Euripides’ Bacchae. Through a complex dichotomy between sanity and madness, Euripides is able to build the play’s plot (by conveying Dionysus’ revenge) and also indirectly warn Athens about trusting in the governmental power that was traditionally in rule. He explores madness through women, a leader, a god, and most interestingly
The “Bacchae” by Euripides is about a Greek god Dionysus who is seeking revenge on his mother’s people for not worshiping him. Euripides ideas came basically from ancient Greek mythology about religion. The elements of religion are based on festivals, cults, beliefs and worshiping. Similarly in the play “Equus” the writer Peter Shaffer wrote his play base on the elements religion and beliefs. “Equus”, is about a young boy who blinded six horses in one night and a psychiatrist who is trying to treat
The disruption of the male and female social norms is present in Euripides' Bacchae. The myth tells a story of Dionysus, the god of budding vegetation, wine, liberation, "... ec-stasy and terror, or wildness, and of the most blessed deliverance" , and how he broke women free from repression and the effect that his decisions had on the social order of the city Thebes. In the myth, Dionysus displays several powers including: the power to escape incarceration, the power to grant freedom to others, both
The Bacchae is a major Greek tragedy and anyone who has read Euripides’ famous work would agree. Although the point of a work isn’t to dwell on the “what if’s” or “how could this or that be changed,” because that would comprise an entirely different work, I believe the outcome of the Bacchae could have been avoided several different times throughout the text, especially if Pentheus had been more welcoming towards Dionysus. The first change of fate that may have been implored to modify the outcome
Throughout Euripides’ Bacchae, “the hunt” is a central theme portrayed through the roles of the hunter and the hunted. The hunt is as much a part of Dionysus as wine and revelry. The chorus states in the epode “He wears the holy fawnskin / he hunts the wild goat/ and kills it. / He delights in raw flesh”, giving the audience a visual of how connected Dionysus and the primal nature of humans are (line 136). As is the way of Dionysus, the roles of the hunter and the hunted shift, blurring the
his end. Creon takes him away and Oedipus asks Creon to take care of his two daughters. The relationship between the gods and humans in this story shows that the gods are the ones who tell the fates of the mortals. Apollo could not change Oedipus’s fate, and despite Oedipus and his
Analysis of Dionysus and his followers in Red Figure Pottery This vessel is a bell krater dating to approximately 380 BCE, attributed to the Erbach painter (Otago Museum information for artefact E60.14). The vessel depicts a general scene of Dionysus and his followers, with Eros the god of love also shown. Dionysus is seated and surrounded by his followers, the Maenads and the Satyrs, who are dancing around and worshipping the wine god. Winged Eros, the god of love, is also depicted here, floating
circle of Hell. This section was assigned to those who commit the sins of fraud. The circle consisted of eight rings, with each represented a distinct type of fraud. For instance, in Canto XX, the Pilgrim and Virgil explored the sin of divination, committed by those who foresaw or debased the truth. This very canto will be the subject of in-depth analysis of the true nature of the sin and the idea of truth. In this fourth ring inhabited those who could saw the future. The punishment that struck on