The Transformation Of Dionysius In The Frogs

Euripides’s plays often featured uncanny insight into the human condition and the struggle that his characters bore due to their expected roles within society.

Theater in ancient Greece was considered the climax of the days long cultural festival of The City Dionysia. At the festival, various types of plays were shown but one of the most popular was tragedy. These tragedies show the main character, usually a god or person of myth, going through human suffering and the terrible sequence of events that followed; and were produced in 472- 401 BCE. In order for a play to be performed at The City Dionysia festival; tragic playwrights would first have to appeal to the state official that was organizing the festival by submitting ideas to him and his committee. The ideas submitted were outlines of main themes and points of interest to be performed in the play. If a playwright was selected by the state official and his committee, then they received a financial backer and a chance to compete in the drama competition of the festival. The state official, or his committee, was likely pushing their own agenda and choose playwrights that matched their ideals. This is just one example of how theater in ancient Greece was used to influence the morality of Greek culture by using the stories of tragedies, like those of Euripides.

Aristophanes wrote The Acharnians at a time where the world he saw around him was changing. Athens had been at war for six years with no end in sight, the leader who started the war has been killed by a plague, and just three years prior Athens almost voted to kill off one of its allies for trying to leave the Delian League. He was seeing a whole new side of Athens. A side in which the concept of an independent polis has been lost and Athens is at war with its former allies. These are the things that inspire Aristophanes’ Greek comedy to be born. He uses the theater to address the questions he has about what is

Theatre became important to Greek cultures when it became a part of the festival honoring the god Dionysus (The god of wine and fertility).”( Greek Mythology in Theater by Bruce Tucker October 27, 2016) The theater festival was founded to bring unity among the Attican tribes.( Greek Mythology in Theater by Bruce Tucker October 27, 2016) Athens was the main center of these traditions. Everyone came to sing and dance in hope for a good harvest. At one point, a Greek named Thespis began to sing praises to the god, with others responding, which led to the actor and chorus. During the festival everyone would dance and sing in a circle, in the middle of which was the altar to Dionysus. Over time the festivals started giving thanks to other themes, and eventually had nothing to do with Dionysus or any god, but began to turn into classical Greek plays. (First Ancient History, Oxford University Press 2000 pg.166)

Theatre flourished in Greece, particularly in Athens, between c. 550 BC and c. 220 BC. During its beginnings theatrical performances were part of Dionysia, a festival held in honour of the god Dionysus. The plot of the plays was always inspired by Greek mythology, a theme that is still common today. Many modern plays and movies have been directly based on or incorporated elements of Greek mythology or simply mythology in general. Every play had a chorus, though the size and importance of it varied. The

During the time of Euripides, approximately the second half of the fifth century B.C., it was a period of immense cultural crisis and political convulsion (Arrowsmith 350). Euripides, like many other of his contemporaries, used the whole machinery of the theater as a way of thinking about their world (Arrowsmith 349). His interest in particular was the analysis of culture and relationship between culture and the individual. Euripides used his characters as a function to shape the ideas of the play (Arrowsmith 359).

Greek drama originally started out as a ritual to honor the god of wine, Dionysus, by the cult of Dionysus. In the ritual, drunk men dressed up in goat-skin would sing and have dialogue in chorus to welcome the leader, the person acting as Dionysus (Sayre 151). In these revel-filled festivals, men dressed as satyrs, companions of Dionysus who are half-man and half-goat, while the women dressed up as maenads, the immortal followers of Dionysus. As the participants become drunk and filled with ecstasy, they “transform” into a different identity from before. Later on this behavior became the satyr play, a form of Greek drama. Tragedy is said to be originated from the Dionysian rites, where the name comes from tragoidos, which means the “goat song” from the satyrs – companions of Dionysus who are half-man and half-goat. This could be in reference to the fact that Dionysus was also the

The Apollonian and the Dionysian is a philosophical concept based on different mythologies, many Philosophers and figures have invoked this dichotomy in critical and creative works. Both are one of the important themes within Nietzsche’s first major work, The Birth of Tragedy and they are terms used to designate the two central principles in Greek culture.

The essence of this mystery tradition was the embrace of one’s whole self through ecstatic ritual. Sexual longings were summoned and embraced as inherent parts of our inner self. The Cult of Dionysus were worshippers who held rites and initiations to bring them in close contact with this God. These secret rites of initiation were the other essential part of the Dionysian Mysteries. The Cult of Dionysus held the secret rites on Mount Parnassus in the winter, and these rites were exclusively for its cult members. An individual had to make the decision to enter the mystery cult through initiation. These rites celebrated Dionysus’s emergence from the underworld with orgies. They focused on the exhilaration wine produced and used intoxicants and other trance-inducing techniques like music and dance as part of the rituals. It’s believed that at first the songs and dances were designed to stimulate plant growth, and that the orgies were introduced to induce fertility in the vegetation fields. This cult was originally believed to be a wine cult concerned with the cultivation, life-cycle, fermentation, and disinhibiting effects of wine. These rites had a group approach, “which manifests its collective energy through the throbbing patterns of song, dance, and orgiastic sex among its individual participants” (Evans,

The chosen art piece, from Roman origin, is titled “Dionysus” and portrayed Dionysus, the god of wine, with his follower Pan. This artwork is a great example of Greek art’s influence in Roman artwork. The main elements of Greek’s naturalistic art, specifically of High Classical period, are rendered beautifully in this piece combined with distinctive elements from verism, unique to Roman art. So, the idealism of Greek art and the individualism of Roman art come together to create an art piece that is divine, mythical, and yet very human and therefore, relatable.

Dionysus is an important figure of Greek mythology. He is the Olympian god of wine, vegetation, festivity and pleasure. He represents humanity’s longing for pleasure and desire to celebrate. Dionysus is also the god of hallucination, theatre, reincarnation and homosexuality. He is called: “the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god…” (Roman 201).

“Since his [Aristophanes’] plays were often sharply critical of Athenian policies, his ability to make people laugh was essential to conveying his message. He was a practitioner of what we now call Old Comedy, an irreverent form that ridiculed and insulted prominent people and important institutions” (80).

Greek tragedy is often seen as a verbal, static and a moralistic story when in fact it is something emotionally felt and theatrical. The word drama itself can be translated into a communication through action, this action is influenced by emotion and meaning which in turn directly speaks to the audience.When we read a piece of work we have an incomplete understanding of what is on the page. Theatrical elements allow for the audience to understand the mood and emotion of what is being played out. By reading Prometheus bound we lose vital characteristics of the drama. We miss the tone, pitch, volume, and intonation of one’s voice, we lose facial expressions, gestures, and physical posturing of where the speaker is standing and who they are addressing.

In the ‘Frogs’ and ‘Wasps’ written by the “eminently best” comedian of the fifth century, Aristophanes, we see he utilized humour to exact the important message that Athens is corrupt, and on the verge of chaos. The Athenian audience would expect to be thrust into a world of humour in the City Dionysia, somewhere parallel to their own (e.g. the Athenian jury in the ‘Wasps’, and the failings of the government in ‘Frogs’). It is vital, then, that Aristophanes conveys his political and social views through slapstick, farce, and caricature to interest the audience. This is an important component in both plays as the audience is able to simultaneously accept his diplomatic views whilst being entertained. After all his main point for producing his plays were to produce something with a “little fable, with a moral”.

In Ancient Greece religion and theater went hand in hand. The Greeks developed religion that was based on worship of many Gods. In honor of the Gods there were festivals with dancing, music, and theatrical performances. During the festivals the whole city would come to a complete stand still. All businesses were closed, politics were put on the back burner, and wars were halted. All social classes were welcome to come to the festival, and they all did. One of the most famous religious festivals is the City Dionysia, a festival in honor of the god Dionysus, god of wine, revelry, and fertility. The festival was held in ancient Athens, in March for five days, featuring dramatic competitions. These dramatic competitions consisted of dithyrambs, tragedies, comedies, and satyr plays. The tragedy competition was four plays per playwright, three tragedies and one satyr play. There were two processions; the first was carrying the statue of Dionysus from the temple to the theater of Dionysus at the foot of the Acropolis. The second were the patrons parading through the