Dionysus and the Unraveling of Ideologies in The Bacchae

A scorned wife spoke this in one of Sophocles’ lost plays. Sophocles has seized the essence of what it means to be a woman in Athens at this time.

Ancient expectations for women include always putting the responsibilities of being a mother above all else, as shown in Euripides’ Medea and Aeschylus’ Agamemnon, as well as Euripides’ Iphigenia at Aulis. Both Clytemnestra and Medea exhibit motherly love and tend to those responsibilities, but commit atrocious, unladylike acts, which jeopardize the sympathy felt for them by an audience. The respective playwrights of each story use their character’s motivations and how they align with their roles as mothers first and women second to ultimately characterize each in either a negative or positive light. The motherly motivation that Clytemnestra and Medea exhibit excuses their vengeful and deceitful actions, however Medea’s final action,

The general question was, what does ancient Greek culture value? A way of interpreting this is, what is the most valued trait in Greek culture based upon the reading. Respect sees to be the most general of all traits. All of these events have shown respect toward the gods. When Odysseus had to fight the Cyclops and the suitors is all out of consideration for the gods and their values towards the people. Since Odysseus is thankful and is being respectful the gods give him help in return, a little role change. Odysseus also helps the gods by telling a person or people the rules of being a good host for new

Another essential group of characters in The Bacchae is the chorus, as within Greek plays the chorus often operated as a popular voice in support of the play’s central idea. Their songs often explain important points, and it’s clear in The Bacchae the songs of the Bacchante chorus uphold ‘sophia’ as the trait most honourable in humanity. As Dionysus exits to convince Pentheus to dress is women’s clothes, the stage is left to the chorus, and they sing: “what is wisdom? What gift of the gods is held in honour like this…” Wisdom is described as a gift from the gods sanctioned amongst men, and thus it is most wise to honour those gods. He who fails to recognise that “humility is wise, humility is blessed,” fails to recognise the greatest quality he can possess in the face of godly power. Thus it is clear that the characters of The Bacchae are essential in conveying the central idea, as

Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that

In addition, further proof of women's inferiority is found in The Bacchae when King Pentheus considers it shameful to disguise himself in women's clothing. "Do I have to be demoted to a woman?...A woman's costume? No, I won't; I can't"(Bacchae 50-51). Pentheus's attitude in this situation attests to the negativity women in Greece were faced with daily.

Studies concerning the lives of women in classical Athens have sparked much controversy because, despite the apparent fascination with femininity manifested in art and drama, we have no evidence voicing the opinions of the actual women themselves. This presents a

The Characters Make the Play The ancient city state Athens was a place for cultural advancements. These advancements led to festivities such as the Festival of Dionysus. The Festival of Dionysus was an event dedicated to the Greek God Dionysus. In this festival there was a competition between playwrights to have the best plays.

In “The Trojan Women,” there are four enduring women who dominate the play and only two men who say anything at all. Moving us with their rants and dramatic reactions, these women engulf the audience in overwhelming grief and irresistible pride. Euripides emphasizes these four women to help us understand one of his main themes. Hecuba with her pride, Cassandra with her virginity and uncanny wisdom, Andromache with her misery and heartache, and Helen with her powerful, seductive reasoning all represent superior illustrations of feminism throughout the play.

Greek tragedies Oedipus the King and Euripides’ Bacchae are both timeless stories in Greek literature. The engaging plot of both is what is most rememberable however the significance of the chorus is overlooked. The chorus can be defined simply as a group of dancers and singers that participate in dramas by singing poetically and lyrically in certain pauses of the play. The music, movements and gestures of the chorus symbolically define the mood and the themes of the play as the story line develops. The flow of Oedipus the King and Bacchae are dependent on the chorus, proving their significance.

The title of Sarah B. Pomeroy's book on women in antiquity is a summary of the main categories of females in the literary imagination and the societies of ancient Greece and Rome, over a period of fifteen hundred years. Beginning with goddesses, Pomery retells some Greek myths, outlining the social functions of female Olympians – the goddesses are archetypical images of human females, as envisioned by males. Desirable characteristics among a number of females rather than their concentration in one being are appropriate to a patriarchal society. Demosthenes states in the fourth century B.C. this ideal among mortal men, "We have mistresses for our enjoyment, concubines to serve our person and wives for the bearing of legitimate children (Pomery 1995)." Pomery’s goal in writing this book was to detail and outline the true significance of women in all other their roles in antiquity.

Euripides and Sophocles wrote powerful tragedies that remain influential to this day. The vast majority of work recovered from this time is by male authorship. What remains about women of this time is written through the lens of male authors’ perspective and beliefs about the role of women in Greek culture. The works of these two playwrights frequently characterize women as unstable and dangerous. Agave, Antigone, and Medea are all undoubtedly the driving force behind the tragic action in these plays. It is their choices that lead to the pain and death of the people around them. Through an examination of the evidence from three separate works, Antigone, The Bacchae, and The Medea, the role of women in ancient Greek tragedy becomes clear. The actions of Agave, Antigone, and Medea repeatedly prove their characters instability and danger.

The role of women in ancient Greek life was insignificant compared to that of Greek men. A woman's job was to take care of the children and to cook and clean unless she had servants or slaves that would do it for her. Yet, in Greek mythology, women were often written as major characters. Well-known Greek plays contain many well-written, complex, female characters. Female individuals in Greek mythology were often seen as very powerful and fierce and were depicted by “her wits, her beauty, or her bad deeds.”

The stories that as a whole make up the body of ancient Greek mythology have treatedthe complex subject of women in various ways. Although women are generally considered to beweak and subordinate to their husbands, there exist some examples of strong, even heroic womenin certain myths. Such “extraordinary” women include Deianeira, Phaedra, Medea, Penelope,and Clytemnestra, among others. This discussion of women will focus on the latter two,comparing and contrasting them and addressing the ways in which the former is often considereda “good” wife and the latter a “bad” wife. The comparison of Penelope and Clytemnestra willultimately show that, in certain ways, the line between “good” and “bad” wife is rather blurryand the distinction between husband-killing monster and devoted, faithful wife is not as clear-cutas one might expect.The major works in which Penelope and Clytemnestra appear are Homer’s Odyssey andAeschylus’ Oresteia, particularly the Agamemnon. One of the first things to notice about theseworks is that they were both written by men, for men. Given the ancient Greek context, this is arather obvious observation, but it deserves to be pointed out because it should be expected thatmen would have a biased view of women. Hesiod’s Theogony and Works and Days describe thecreation of Pandora, the first of “the race of women”, as a gift and punishment from the gods.While she is made to “look like a goddess immortal, / having the lovely, desirable shape of a

For a play titled Ajax, the exposition of the play serves as a curious contrast to the rest of the story. By introducing the tragedy in media res with Athena and Odysseus, Sophocles skips past the fuss of the armor debacle and instead delves straight into the aftermath of the event. Athena, who knows of Ajax’s deadly intentions, chooses to redirect his violence towards the innocent livestock. Seeing that this act was Ajax’s deciding moment, to not include it in the play raises the question, what role does Athena play in setting the course of the story? I will argue that Athena’s spell over Ajax is an act of salvation rather than an act of punishment and it is through this intervention that Ajax attains honor after death with his proper burial. This not only provides insight on Athena’s behavior but also brings the play to a full circle with the reintegration of Odysseus as an instrument of Athena’s intentions.