By Travis Muller
Of the many gods that Greek and
Hellenistic civilizations worshipped, none have entertained a sense of mysticism
quite like that of Dionysus. His role in Greek mythology, to the people that
worshipped him, as well as his role in modern thought is commonly misunderstood
(Bleiberg). When characterized as solely the god of wine and theatre, which is
typical, the importance of Dionysus in Greek thought and mythology cannot be aptly
appreciated. I will broadly cover the
story of Dionysus, especially of his upbringing, and the Bacchae by Euripides. These stories illustrate the personal nature
of a god that is “complex, often contradictory,” and relatable to the Greek
explanation of the human condition (Grube 37).
Born of Zeus and the mortal woman Semele,
Dionysus’s demigod status causes the distinction of “seeming like an outsider”
to the other gods of Olympus (Blieberg 303). When Semele was 6 months pregnant,
Hera, Zeus’s wife, enraged in jealousy, tricks her husband into killing Semele.
However, Zeus took the unborn child and puts it into his thigh muscle until
ready to be born (Blieberg). When Dionysus is born, Zeus “carried him off to a
faraway place called Nysa where maenads attended to him until he grew to
manhood” (Blieberg 304). When fully grown, Dionysus traveled as far east as India
before returning to Greece. Bacchae by
Euripides catalogues the events of his arrival in the city of Thebes to claim a
place of followers and ascend to his rightful place as a god of Olympia. How Dionysus
exacts his place atop the city of Thebes, however, illustrates the true nature
of the god. Upon arrival, Dionysus seeks to show the people of Thebes the
wonders and beauties of being in his following. Yet, when denied by his
mother’s sisters and their brother Pentheus, the king king of the city,
Dionysus seeks to demand their acceptance not only as family, but as their god.
Dionysus then persists in an elaborate scheme that tricks all members of his
family. In the end, all of them are dead due the chaos that he caused. After
these tumultuous events have passed, the people of Thebes see Dionysus’s great
power, and erect a great temple in his honor (Grube).
There are many significant aspects
to the tale of Dionysus. What distinguishes him from all other Olympic gods is
that he lived with humans on Earth for an extensive time period. This point
becomes relevant in understanding the attributes of Dionysus. Although Dionysus
is normally described as the god of wine and theatre, the domains are taken too
literally (Long). Dionysus is more accurately described as the god of
intoxication, ecstasy, chaos, and all “uncontrollable powers of nature”
(Detienne 2357). The ideas of wine and
theatre are generalized specializations of what Dionysus actually represented
(Long).
The connection between Dionysus as
an Earth-bound-god and as a symbol of nature is not isolated from one another
in context. The point can be made that his connection with the natural is due
to his earthly presence during the first part of his life. To grasp the essence
of this concept requires the thought that gods were not assigned roles in
Olympia until post-Hellenistic times (Detienne). The Greek myths served the
purpose to explain events and concepts that the people at that time could not
explain in any other fashion. For example, in the relationship between Dionysus
and Apollo, two essential ideas of Greek thought were symbolized. Apollo, the
sun god, represented the ideas of “civilization,
order, moderation, and reason,” while Dionysus was a symbol for the opposing
thoughts (Detienne 2357). To the Greek culture, the stories of these two gods
shed light to the people over important concepts of the human condition. Essentially,
these were order versus chaos, civilization versus nature, rigidness versus
emotion and fluidity (Detienne). It is evident in these photos that the left is
Apollo with a rigid body structure, and the left, Dionysus, looking relaxed.
The
origins of Dionysus as Greek cannot be ignored, yet, neither can the influence
these thoughts have on modern ideas. Sarah Maier discusses the role of
Dionysian theory in Feminism. Dionysian theory is used to describe the
patriarchal perception (better known as Apollonian Aestheticism) of women
living solely “by nature.” This is easily understood by the patriarchal
characterization that women are ruled by their emotions. Because of this men
sit atop women in their ability to self-determine. Sarah Maier quotes Simone de
Beauvoir describing Dionysian principles of art and literature in the
following:
“Man
seeks in woman the Other as Nature and as his fellow being. But we know what ambivalent
feelings nature inspires in man. He exploits her, but she crushes him, he is
born of her and dies in her; she is the source of his being and the realm that
he subjugates to his will; Nature is a vein of gross material in which the soul
is imprisoned, and she is the supreme reality; she is contingence and Idea, the
finite and the whole; she is what opposes the Spirit, and the Spirit itself.
Now ally, now enemy, she appears as the dark chaos from whence life wells up,
as this life itself, and as the over-yonder toward which life tends. Woman sums
up nature as Mother, Wife and Idea […] (144)”
The importance of Dionysus to Greek
culture is undeniable as a way to integrate certain aspects of the human
condition. What I believe to be the most impressive aspect of the symbolic
manifestation of nature, chaos, and all of the ideas that a represented in
Dionysus, is the applicability of these principles today. These ideas are still
used to explain and discuss issues in modern society. As is the case with
original advancements in science, mathematics, and philosophy, ideas in Greek
mythology have remained in the formation of Western thought and identity.
Works Cited
Detienne,
Marcel. "Dionysos." Encyclopedia of Religion. Ed. Lindsay
Jones. 2nd ed. Vol. 4. Detroit: Macmillan Reference USA, 2005. 2356-2360. Gale
Virtual Reference Library. Web. 27 Jan. 2013.
"The
Gods of Olympus." Arts and Humanities Through the Eras. Ed. Edward
I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.
Detroit: Gale, 2005. 294-307. Gale Virtual Reference Library. Web. 27
Jan. 2013
Grube,
George. “Dionysus in the Bacchae.” Transactions
and Proceedings of the American Philological Association. Vol.66 (1935):
37-54. Print. 27 Jan. 2013
Long,
H. S. "Dionysus, Cult of." New Catholic Encyclopedia. 2nd ed.
Vol. 4. Detroit: Gale, 2003. 753. Gale Virtual Reference Library. Web.
27 Jan. 2012
Maier,
Sarah E. "Symbolist Salomés And The Dance Of Dionysus." Nineteenth-Century
Contexts 28.3 (2006): 211-223. Academic Search Premier.
Print. 27 Jan. 2013.
"Darkmatters:
Apollo to the Left of Me, Dionysus to the Right...." Darkmatters:
Apollo to the Left of Me, Dionysus to the Right.... N.p., n.d. Web. 28
Jan. 2013.
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