who refuses to believe in the god or his extraordinary powers. He thinks he can imprison Dionysus, suppress his followers, and stop the spread of his worship through sheer force, despite repeated warnings from those around him. Cadmus and Tiresias urge Pentheus to accept Dionysus's worship in the city. The Chorus praises the god. The Herdsman from Mount Cithaeron states, "Ifhe exists not, then neither does Cypris, nor any other joy for men at all." Despite all these warnings, Pentheus continues on his chosen path and only realizes the mystery of Dionysus's powers when the god himself enchants the unsuspecting king and leads him to his downfall.

The outcome of the struggle between humans and gods is often similar, though the lessons learned differ. After centuries of conflict with his creation, the Biblical God is transformed in the New Testament, following the life and sacrifice of his son, Jesus. Humanity is granted free will, along with the freedom to suffer or prosper at the hands of others. In Amadeus, Shaffer’s Salieri is consumed by his envy of God and ultimately destroys himself. The characters in Kushner’s Angels in America reach an impasse with divinity. However, Pentheus learns a critical lesson far too late.

Euripides stands out among the Greek playwrights for assigning significant roles to women in his plays, although, in line with the theatrical traditions of the time, these roles were performed by men. His plays often convey sympathy for the difficulties women faced in Greek society. For example, Medea, betrayed by Jason, is portrayed with a degree of sympathy, even though she commits the horrific act of killing her own children. In "Hippolytus," Phaedra, the stepmother, is consumed by an overpowering desire. Likewise, Hippolytus is depicted as a fanatical extremist, arguably deserving of his brutal demise. In The Bacchae, although Euripides's criticism of Greek treatment of women might not be immediately obvious, it is revealed through the portrayal of Dionysian rituals, the compassionate Chorus of Bacchae, and Agave's torment at the play's end.

In Euripides's time, women were largely barred from participating in political life, the arts, and many religious ceremonies. The cult of Dionysus offered women a chance for worship equal to or even greater than that available to men. By embracing the spirit of wine and revelry associated with Dionysus, women could become priestesses, or "Bacchae," simply by engaging in drinking, dancing, singing, and releasing their inhibitions. Pentheus, symbolizing the traditional male-dominated Greek culture, disapproved of women's participation in drinking and religious rituals. However, Tiresias contended that a woman's moral character is determined by her nature, not divine influence. "Even in Bacchic revels the good woman, at least, will not be corrupted," he asserts. The Chorus of Bacchae in the play defies Pentheus’s beliefs. They have journeyed with Dionysus from Asia Minor, where his cult originated, and now live solely to honor him and enjoy his bountiful peace. "The ground flows with milk, flows with wine, flows with the nectar of bees," they sing.

Agave's anguish at the play's end demonstrates that women are equally prone to both happiness and sorrow. Initially, Agave denied Dionysus's divinity, accusing her sister, Semele, of fabricating her love affair with Zeus, the king of the gods. Her deceit provoked Dionysus's anger upon the women of Thebes, driving them mad and sending them into the hills. Her son, King Pentheus, worsened her mistake by refusing to permit Dionysus's worship in Thebes, resulting in their tragic fate: Agave was compelled to kill her own son and display his severed head to the horrified citizens of Thebes.