Abstract The paper discusses the conflict in the poem, "The Bacchae of Euripides", by Euripides and explains that the conflict is constructed around the opposition between Pentheus and Dionysus which is, in fact, a tool of characterization. The paper relates that the conflict between the two characters arises because both of them want to seize power and to have authority over each other and Thebes.
From the Paper "Pentheus thinks he has caught the stranger and orders the prisoner to be bound and tortured only to find out that it is in fact impossible thanks to the god's powers that the king had refused to acknowledge. Consequently, Dionysus turns into a bull when the king's men try to chain him, and then when the king himself plunges a knife into his prisoner, the latter turns into a shadow and remains unharmed. Nevertheless, Dionysus tries to make Pentheus change his ways but the king cannot be convinced. The women who served Dionysus lived on a mountain where they feasted, danced and sang. When they saw the messenger - disguised as a cowherd - that the king had sent to spy on them, they chase and try to kill him. Although he escapes, his cattle do not, and so, Pentheus' mother who was disguised and had joined the herd is captured by the mad women of Dionysus."
Abstract This essay evaluates the authenticity of Euripides, Bacchae as a typical Greek tragedy. Bacchae's structural features are compared to Aristotle's definition of an archetypal tragedy. Also, Bacchae's story plot is analyzed and compared to other authentic Greek Tragedies such as Oedipus Rex and Antigone. Besides analyzing the structure, this essay also correlates the Greek cultural background with the context of Bacchae.
From the Paper "Bacchae, written by Euripides in 5th century, is a Greek tragedy illustrating intricate relationship between human offense and divine revenge. Both shocking and compassion provoking, the play has remained popular for countless years. Having read many Greek plays over the years, I was fascinated by the similarities between Bacchae and other tragedies such as Oedipus, Antigone, and Electra. Striking structural uniformity of these plays made me investigate characteristics of a typical Greek tragedy, and I discovered that Bacchae displays various aspects of classical tragedy. I concluded that Bacchae is an archetypal Greek tragedy because it exhibits a typical story plot, a tragic hero with pitiful downfall, and a moral theme."
Abstract This paper describes how the tragedies "Antigone" and "Bacchae" show the high level of human relations and developed system of social and moral values in Ancient Greece. The author cites examples from within the texts to support this claim. The death of Antigone and the death of Pentheus are compared as symbolic in representing the triumph of the gods' laws (morality and ethics) over the vices and evils of humans.
From the Paper "In the tragedy of Sophocles Antigone, another opposite case is presented as Antigone the niece of the king Creon demonstrates the actions which are worth admiration and respect. She neglects the order of the new king and buries her brother according to Greek customs. This deed is very symbolic as she demonstrates respect to her brother and to the will of gods. Antigone is arrested by the guardians of the king Creon and is sentenced to death in jail. But she is confident in her innocence and is faithful to her ideals:"
"I'll come to recognize that I've done wrong.
But if these people here are being unjust
may they endure no greater punishment
than the injustices they're doing to me."
Abstract The paper discusses the death of Pentheus in Euripides' play, "The Bacchae" and how it is justified due to his arrogance and self-righteousness. The paper shows how Pentheus' destruction serves as a warning against all who might find themselves beginning to think they control much, if anything at all.
From the Paper "In Euripides' play, The Bacchae, we learn the importance of remembering our humanity. In the Greek world, self-righteousness is something that is rarely tolerated and arrogance is never tolerated at all. When man comes up against a god and believes that he knows more and is better, there will be a price to pay. Pentheus' destruction is necessary for several reasons. It first must be demonstrated that man has no power over the gods. He is close-minded to any new ideas and this demonstrates his arrogance. In addition, he does not always act like a king in that he does not see mankind as he really is. His death is justified because he must be an example to all men that such arrogance is destructive. Dionysus has a lesson to teach and Pentheus is just the man he needs to do it."
Abstract This paper discusses the question 'Which of the female characters in the Medea, Hippolytus, Electra, and The Bacchae strikes you as the most outstanding creation, and why?' The paper answers this question by saying that each of the female main characters in Hippolytus, Electra, the Bacchae, and the Medea is flawed in some major way. The women in certain instances are not free agents and therefore are acting as a consequence of some external force, or their behavior is more deviant than is the norm and desire for revenge becomes an end in itself. This paper first discusses whose behavior is impotent or neurotic or, as in the case of Agave, is not under her control.
Abstract Euripides's play, "Bacchae", and Sophocles's play, "Oedipus Rex", highlight several common themes that these two Greek tragedies share. Most notably, both authors contend that it is arrogant impiety for a mortal man to feel that he is in control of his destiny when it is the gods who control man's lives. This paper explores how both stories examine the conflicts that ensue between mortal man's desire to exercise free will and the pre-ordained destinies that the gods have prescribed for humans.
From the Paper "In developing these themes, both Greek authors present a similar understanding of the psychological makeup of young, authoritarian, Greek male leaders. Both Oedipus and Pentheus, while attempting to follow a rational, logical nature, are both born of woman, and driven by irrational, covetous feelings for recognition, (i.e. sight) and unnatural passion. Oedipus violates societal laws by sleeping with his mother, and Pentheus dresses up as a woman in order to witness the drunken orgy. In Dionysus words describing Pentheus, ?Thou art mad to see that which thou shouldst not see, And covetous of that thou shouldst not covet.? (p. 35) And Oedipus boldly, but falsely proclaims, "Neither am I, by nature, covetous"I am not yet so blinded as to wish for honour, other than is joined with gain.? (p. 22)"
Abstract Euripides teaches us that, although reason must be our guide, the primitive things in the universe are not reasonable. There exist in the universe forces that we can neither understand nor control - only participate in, This paper examine the validity of this quotation with respect to the "Medea", "Hippolytus", "Electra", and "The Bacchae". Certain points about Euripides' plays are striking in terms of the circumstances in which the characters find themselves as well as the forces acting upon them. They are driven by urges that are not their own. Forces are acting upon them that predestine behavior. Yet, somehow the characters are responsible for their actions.
From the Paper "The Greek male hero was an ideal character type. Nevertheless, the hero in Greek literature was generally depicted as having weaknesses as well as strengths. For the most part, the Greek heroes were described as having near.superhuman qualities. In this regard, the Greeks believed that a "Heroic Age" existed in the past in which there lived "a race of men and women who were bigger, stronger, braver, and more beautiful than the men and women of their own day" (Howatson 275). At the same time, however, although these heroic figures were often the "offspring or descendants of unions between gods and mortals," they still remained "essentially human" in many respects (Howatson 275). Because the heroes of Greek literature possessed faults as well as assets, the people who read or heard their stories found it easier to identify with them."
Abstract Examines Euripides's "The Bacchae", and Sophocles's Theban plays, including "Oedipus the King", "Oedipus at Colonus", and "Antigone". Discusses the structure of sibling ties in the plays, how they function, and how the relationships are affected by the meanings of the play.
From the Paper "This research examines how sibling relationships function in the action of Euripides' The Bacchae and Sophocles' Theban plays, Oedipus the King, Oedipus at Colonus, and Antigone. The research will set forth the pattern of ideas surrounding the structure ..."
Abstract This paper explains that Mardi Gras can be traced back to Bacchus festivals of ancient Greece and Rome, where the carnival became popular in the middle of the second century. It also look at how it was popular in North America where the Creoles in the 1800s introduced it to New Orleans. The author points out that the New Orleans celebration includes a carnival parade of floats, which first were presented by the Comus krewe in 1857, bands and colorfully dressed marchers who belong to one of the seventy various krewes (carnival groups) in the metropolitan New Orleans of which ten have operated continuously for more than a century. The paper relates that the Rex krewe initiated the tossing of beads and toys to those who attended the parade in 1920, while greatly expanded the bead industry especially in China.
From the Paper "Are Mardi Gras traditions viable in Asian countries like Hong Kong? Hong Kong is a free market economy, the special administrative region of China, which is highly dependent on international trade. Recent statistics show that its natural resources are limited and its raw materials and food have to be imported. It had extensive trade and investment in China even before it reverted to Chinese administration in July 1997. The Asian economic brunt of 1998 hit Hong Kong quite hard and reduced its GDP, but many see its growth as recovering at 1.8% and 3.7% in the 2000s, comparable to the four big countries of Western Europe. Per pre-2000 figures, Hong Kong's GDP consisted mostly of services at 85%, with a 4% inflation rate, 3.36 million Its chief industries were textiles, clothing, tourism, electronics, plastics, toys, watches and clocks. Hopes could not altogether be pinned on China's regain of control over Hong Kong."
Abstract This paper examines the story "Where Are You Going, Where Have You Been?" by Joyce Carol Oates and seeks to show that, taken allegorically, this story does not speak of temptation to sin but rather speaks of the call to transcend and to become initiated. It attempts to show that this fascinating story is not merely a realistic allegory of growing out of childhood, nor a tragic story of rape and murder, but also a sophisticated modern-day retelling of the coming of Dionysus and the calling of the Maenad. It looks at how Arnold Friend is a type of Dionysus and how his call to Connie parallels the call of the mad god to his Bacchae and to the initiates in his mysteries.
From the Paper "Understanding Arnold Friend as an exemplar of Dionysus opens up far greater insight into the allegorical and mystical elements of this story. Dionysus was widely worshiped in the Greco-Roman world as a savior and an initiator into the mysteries of the self. (Freke & Gandy) He brought madness and death, certainly, but always this chaos was part of "the beauty and horror inextricably tied to the process of Becoming," (Mcginty, 165) and though he was a god of death he was also a god of resurrection who was commonly compared to Jesus by early Christian writers and their pagan contemporaries. (Freke & Gandy) With this in mind, several elements of the story may be re-evaluated. "
