The Similarities Between Dionysus And Semele's

Everyone is going to die. This is no secret to the audience of the Greek play Agamemnon. Rather than surprising us with the murders that befall at the hands of vengeance, the Greek playwright uses this common story to display the underlying theme that one must first suffer before they can reach the truth. To understand the significance behind the story of Agamemnon, one must understand the passions and how they relate to the human person, Zeus’s law of suffering into truth, and Aeschylus’s motives for writing Agamemnon and how he reflects Catholic teaching.

Greek drama was performed in the late 6th century BCE in ancient Greece. Tragedians like Euripides wrote very influential and popular plays such as the Bacchae. Greek tragedies lead to Greek comedies such as Aristophanes’ Lysistrata. Many of the Greek dramas have similar concepts, one of being duality. Without duality, the nature of our lives and the environment around us remains unbalanced.

The islands of Circe and Calypso in Homer’s Odyssey are places where Odysseus’ most challenging problems occur. In contrast to battles with men, Cyclops, or animals, sexual battles with women are sometimes much more difficult to win. These two female characters are especially enticing to Odysseus because they are goddesses. Though it is evident that Odysseus longs to return to Penelope in Ithaka, it sometimes appears that he has lost vision of what life was like with a wife, a son, and with thousands of people who regard him as King. Although his experiences on the islands of these goddesses were similar in that he was retained from Ithaka for the longest periods of his adventure, these goddesses and the

Goddess, Whores, Wives and Slaves: Classical Women of Antiquity, written by Sarah B. Pomery, focuses on the main categories of women in the literature and society of ancient Greece and Roman over a time period of fifteen hundred years. Pomery focuses on these roles and how they are significant in the development and structure of these great ancient civilizations. Her goal in writing this book was to expand upon her first book, entitled Goddesses as she discusses in the Preface of this book. She wanted to include the significance of all women’s roles beyond just that of Olympian women because the first thesis was so well received.

The next and less benevolent role is that of the seductress. Two stories about such women referred to in The Odyssey are those of the half-sisters Helen and Klytaimnestra. The entire Trojan War was caused by Helen's unfaithfulness to Menelaos; her affair caused many deaths and Odysseus would not have had to leave home if she had not run away with Paris. The other sister also caused pain and suffering by having an affair and then killing her husband, Agamemnon, with her lover on his homecoming day. The seductress is always looked upon as dangerous and harmful to mankind. The Seirenes symbolize this role; their song seduces and compels anyone listening to linger until death. Kirke tries to seduce Odysseus before she helps him, and the beautiful Kalypso entices him with sex and immortality and will not release him to go home. It is the hero's job to resist the temptation of the seductress or it will lead to his downfall.

The nymph, Calypso, is a prime example of the use of sexuality by women in this story. Calypso has Odysseus held captive on her island, and attempts to make him stay there and become immortal, to be her mate. Calypso is looked upon negatively by the gods for having slept with a mortal man, but Calypso wishes for Odysseus to be made immortal by the gods and to stay with her on the island, as was done for Dawn. Calypso is a nymph, described as lustrous and queenly. Since she has kept him captive, Odysseus won’t believe her at first when she tells him he is being let go to journey home. She has kept him on her island, and in her bed, and kept him from the wife he loves. And even before he leaves the island, she makes him sleep with her one last time.

When Hera found out about Zeus’ dirty deeds, she convinced Semele to ask Zeus for proof of his true nature. Zeus agreed and presented himself to her in his true form, Zeus’ true glory however burned Semele alive. (ML 301) This myth is a prime example of Zeus’ human tendencies of acting like a common man as he gives in to his more primitive needs and cheats on Hera with Semele.

The gods are constantly involved with mortal women and are not shamed for it, Zeus’ being especially guilty of this. However, Calypso argues that when an immortal women such as herself sleeps with a mortal man she is berated and the man is whisked away. She refers to the gods as “scandalized” in result of her involvement with Odysseus, yet they are unimpeded to sleep with any women they desire. Calypso wishes the power to be held to the same standard as the gods, but the etiquette of a goddess is to not freely become involved with mortals, as it is of a god. Calypso angrily must give up Odysseus, and in book six he finally makes his way onto another island after a near death experience awash in the sea. On this island lives Princess Nausicaa who also must undergo gender roles. The goddess Athena, disguised as a friend of the princess, convinces Nausicaa that she should take a trip to the river to wash and bathe her clothes as a plan to get her and Odysseus to meet up. Odysseus finds Nausicaa at the stream, and first she is scared because he is dirty and very fatigued. He then talks to her, and she offers him help. She asks that he accompany her back to the palace where he can get help of her parents, the king and queen. He is about to ride in the Nausicaa's wagon, but then she asks that Odysseus must follow behind, telling him about what would possibly happen if the were to ride

To this day scholars offer a number of different interpretations of Euripides’ The Bacchae. This essay will argue the centrality of ‘sophia’ (wisdom) and its opposite ‘amathia’, similar to the interpretation offered by Arrowsmith and Dodds: that the central idea of The Bacchae is that wisdom – possession of humility, acceptance and self-knowledge, encompassed by the Greek word ‘sophia’ – is the greatest and most necessary quality humanity can possess in the face of godly power. In particular this essay will focus on how the central idea is communicated through the convergence of characters and dialogue in Euripides’ The Bacchae.

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.

Agave in Euripides tragedy, The Bacchae, is a violent example of how women were portrayed. Agave, the mother of Pentheus, joins the cult of Dionysus. Pentheus dresses as a woman to spy on the Maenads because of a burning curiosity as to the possible sexual nature of their gatherings. His plan is foiled when he is spotted hiding in a tree. The messenger depicts the demise of Pentheus at the hands of Agave, “But she was foaming at the mouth, and her crazy eyes rolling with frenzy. She was mad, stark mad, possessed by Bacchus. Ignoring his cries pity, she seized his left arm at the wrist; then, planting her foot upon

   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

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,

In Greek Mythology a rivalry always occurs between certain Gods and Goddesses. In the case of Apollo and Dionysus there is no exception. They are half brothers, both sons of Zues and they compete just as most brothers do. Though the two Greek Gods, Apollo and Dionysus, were actually very similar in some ways, they severely contrasted in others.

Medea’s strength is portrayed as her madness as she takes control and decides the fate of her enemies. She is a strong character and Euripides allows Medea to have a voice by allowing the audience to witness her break from the norm of what a woman of her time is expected to do. After giving up her family and former life to be with her husband, Jason, he decides to marry a younger princess while still married to Medea. Medea realizes that women are left to face the most miserable situations and says, “We women are the most unfortunate creatures” (229). Jason feels that Medea is to be grateful for what he is doing by marrying into royalty as it will afford all of them a better life. The representation of Medea by Euripides is powerful, manipulative, and extremely smart, yet because she is a woman she has limited social power.