The Bacchae, written in Macedonia after the author’s voluntary exile from Athens and produced posthumously, is one of Euripides’ most poetically beautiful as well as thematically difficult dramas. The play abounds in passages of nature description unsurpassed in any of the playwright’s other works, and the lyrics of the chorus in praise of Dionysus and his gifts of wine and sensuality are particularly fine. The vivid descriptions of landscape and the hymns to bacchanalian pleasure in the first part of the play are so intriguing, in fact, that Pentheus seems a combined brute and prude for opposing the spread of the Dionysian cult in Thebes. In the second half of the play, Euripides’ descriptive talent turns, with equal effectiveness, to a different purpose as he presents the grisly scene of Pentheus’s slaughter by the revelers, terrifying in their mindless, maddened frenzy.
The fact that The Bacchae has been alternately interpreted as Euripides’ approval of the Dionysian nature-worship cult and as his condemnation of religious excess attests to the play’s thematic complexity. Critics of the first persuasion cite the undeniable fact that the chorus, which traditionally functions as the upholder of moral values and as the mouthpiece of social standards, aligns itself with Dionysus and supports his attempt to introduce his cult into Thebes. Another follower of the god-man is Tiresias, the familiar blind prophet of Greek...
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