From Kimbell Art Museum, Douris, Red-Figure Cup Showing the Death of Pentheus (exterior) and a Maenad (interior) (ca. It currently publishes more than 6,000 new publications a year, has offices in around fifty countries, and employs more than 5,500 people worldwide. You were the ones who once came |16 to the wedding of Cadmus, and you sang this beautiful set of words [epos]: |17 “Whatever is beautiful [kalon] is near and dear [philon], and whatever is not beautiful [kalon] is not near and dear [philon].” |18 That is the set of words [epos] that came through their immortal mouths. VI.15.1 Pompeii. So, Dionysus is in effect saying to Pentheus: You and your future experiences are so terrible that I pity you. |939 {Dionysus:} I really do think you will consider me the foremost among those who are near and dear [philoi] to you |940 when, contrary to your expectations, you see that Bacchants [ bakkhai ] are moderate [= sōphrones]. Bulletin of the Institute of Classical Studies, Access everything in the JPASS collection, Download up to 10 article PDFs to save and keep, Download up to 120 article PDFs to save and keep. There are many controversies surrounding this choral song in, 24. Architectural wall painting |151 And amidst cries of “Euhoi!” his voice thunders words like this: |152 “Come on [and join the chorus], Bacchants [bakkhai], |153 come on [and join it], Bacchants, |154 surrounded by the luxuriant beauty of Mount Tmolos, watered by streams flowing with gold. 2nd-1st centuries BCE. Case Status: Case pending. I start by highlighting the existence of myths that tell how the god Dionysus himself was dismembered by the Titans, only to be reassembled later by divine intervention (for example, in Cornutus On the nature of the gods p. 62 lines 10-11 ed. Come on, hold your head straight. |959 {Dionysus:} Yes, and are you not like a guardian who has been sent out to counter exactly this kind of thing? I use the expression ‘in the end’ here because it suits the wording spoken by Dionysus himself when he goes offstage to outfit Pentheus with the costume that will kill the hero: |857 I am going now. Pentheus may think that these pathē will be ‘experiences’ that are ‘terrific’ for him, in the positive sense of ‘terrific’. |914 Come out from inside the palace. [10]. 15. This paper first surveys sixth and fifth century representations of Pentheus' sparagmos ('violent bodily dismemberment') that likely predate Euripides' Bacchae (c. 408-406 BC) and then shows how verbal and visual elements present in these earlier works are combined, contrasted, excluded, or transformed in Euripides' famous reworking of the theme. I propose to analyze this passage by starting near the end of the text and then, later on, restarting at the beginning, working my way back down to the end. As participants in the ritual of drama, the members of the chorus are undergoing a positive experience as they re-enact the myth of Dionysus by singing and dancing the myth. In my translation of lines 144-145 of the. From the perspective of Pentheus, agōn here means the hero’s ‘ordeal’ in fighting a personal war against the Bacchants of Thebes. |918 {Pentheus:} What is this? By contrast, Bacchic possession in the ritual of singing and dancing by the chorus is orderly and moderated. The Death of Pentheus, Attic Red Figure Kylix attributed to Dourix, c.480 BCE / Kimbell Art Museum In the Bacchae of Euripides, produced in Athens some time after the author’s death (he died probably in Macedonia, in 407/406 BCE), we see the dramatization of a myth concerning such … The other name of Bacchus is Dionysus. But there is more to it. It all depends on how you look at the pathē that ‘await’ Pentheus. on east wall in south-east corner of exedra. They consist of a handful of passages from literature and about ten red-figure vase paintings ranging in date from the late sixth century to the late There are references to such myths in the Bacchae of Euripides. wall in south-west corner of exedra. |925 {Pentheus:} So, what do I appear [phainesthai] to be? Just as the hairdo of Pentheus becomes disorderly, so too does his costuming. Painting of sea horse from The Bulletin of the Institute of Classical Studies publishes world-wide research in the whole range of Classical Studies. Why is the male leader of the chorus ‘sweet’, and why does the female member ‘take sweet pleasure’? 14. πολλοὶ γάρ εἰσιν κλητοὶ ὀλίγοι δὲ ἐκλεκτοί. It has become familiar to millions through a diverse publishing program that includes scholarly works in all academic disciplines, bibles, music, school and college textbooks, business books, dictionaries and reference books, and academic journals. Department of Greek, Etruscan and Roman Antiquities (Myr. And these three meanings add up to an aetiological myth that tells the origin of tragedy as a primal moment initiated by the god Dionysus. By singing and dancing, the chorus is performing the ritual of Dionysus, god of State Theater. The expression arēios agōn, ‘the agōn of Arēs’ (as used by Herodotus 9.33.3), refers to the ritualized experience of combat in war. / Wikimedia Commons. For an introduction to tragedy as it evolved in the historical context of the festival of the City Dionysia in Athens, I cite my detailed analysis in, 3. {Pentheus:} — I am going with that objective in mind. But the mutuality of this act of looking at each other is uneven in the ritualized setting of ancient Greek theater. I give three basic definitions: (1) ‘coming together’, (2) ‘competition’ or antagonism, and (3) ‘ordeal’ or agony.