Euripides Bacchae
Produced posthumously (Euripides died in 406/7BCE).
The conceit: a new god has come (back) to town to introduce his
worship: the king resists: the god's mother was insulted (people said
she was just covering up a tryst by claiming that Zeus impregnated
her). Zeus long ago set down fate about these matters (1349).
Bacchus: the eternally foreign
god (although attested as early as Minoan/Mycenaean times).
- God of peace, wine, leisure.
- A god of en-thusiasm and ec-stasy. Epi-phany of
the god in en-thusiastic state.
- But a god of nature, a force not to be denied.
- A god of masks and deception: fit for theater
The essence of Dionysiac
religion: accept the god, passively. No ethical message, no
rational considerations, no questioning. Faith free of any resistance
from rationality or any other source of resistance.
- Myth is NOT religion.
- Ritual is NOT myth.
- But they are related in oblique ways.
- This play depicts an (abnormal) initiation
ritual: women go off in secret to perform rites. Because they are
secret, there is a great deal of speculation (orgies or chaste
activities?).
- Mystery religion
- initiation rite
- personal relation to god
- secret
- egalitarian (not just citizens, not just males)
- offer hope of improved inner life as well as
life after death
- no orgies of sex, except in myth.
- no Dionysiac maenadism was permitted in Athens!
- God appears to the city more so than to
individuals.
How to play the character
Pentheus? Insane (caused by the god)? Rational, all too
rational? Overbearing, testosterone crazy male soldier wannabe who
thinks he is better than others just because he is a man and king?
Deeply repressed (think of his seeming joy at cross-dressing as a
maenad: he so fears female sexuality that he imagines it as a force
which he needs to control to keep women from promiscuous orgiastic
sex(221ff))? As the unwitting scapegoat for his community?
Chorus of Maenads
Different from maenads on Mt. Kithairon: those maenads are really being
punished, whereas the chorus are more sensible worshippers (albeit
still a bit bloodthirsty).
Language does not mean what it
means: lines 960 ff.
The sanity of insanity. The
irrationality of arrogant rationality. Line 997.
Losing one's mind to find truth.
Incompatible with rationality.
Self-control was a Greek virtue: knowing one's place and keeping to it:
this is a play about letting go in order to find one's place. Paradox:
the initiation and religious experience must resolve the paradox,
probably not in a rationally formulable way.
Anti-intellectualism
Wisdom is beyond humans: be
content with ordinary life, obey the law, and keep ordinary virtue:
395, 429, 890ff, 1005ff., 1149-52
The above can also be read as democratic.
Innovation is suspect.
Too much reason can lead astray: stick to traditional ways.
The logic of divinity? 1345-51.
In another Euripidean play, Heracles says "A god, if he is a god, needs
none of that: and these stories the poets tell are horrible" (Heracles Furens 1345-6)
Overall
- Euripides' religious masterpiece?
- Euripides' portrayal of Dionysiac myth as a god
on a vendetta? (why isn't Pentheus portrayed as more of a martyr, then?)
- Euripides' mockery of miracle religion? (no
explicit support in the play, but the play seems so ridiculous?)
- Euripides' asssertion that denying the
irrational element in humanity is dangerous? (beware here: is the play
about religion or psychology?)
- Euripides' portrayal of an irreducibly
paradoxical situation presented in religion and psychology...
- Euripides' portrayal of the problem with
finitude of human life: we must commit to something, but that involves,
at the very least implicitly, denying something else
- "Initiation replaces the conflicting appearances
of the god with a single, consistent, and captivating experience": the
play is irreducibly remote from our modern world, and the things that
delight us in the play are beside the point.
- Euripides' reflection on the brutal reality of
power politics as it plays out between city states and also in religion.