Dionysus

=Dionysus =

Dionysus was a celebrated god of Greek mythology who represented the grape vine and wine. He is the only son born of Zeus’s body and is the only Greek god to have originally been the son of a mortal woman. Dionysus’s Roman counterpart was Bacchus, who bore the same traits of Dionysus. Dionysus is also well known as the god of revelry in ancient Greece, and is often connected to orgiastic drunken worship sometimes referred to as bacchanalia. The cultural importance of Dionysus also served as a significant aspect to numerous citizens of ancient Greece, as many festivals of plays and tragedies were held in his honor. toc



"Bacchus" by Caravaggio. c. 1595. Uffizi Gallery, Florence, Italy. Virtual Uffizi.

=Origin = The most primitive images of a figure bearing resemblance to Dionysus appear in the culture of Minoan Crete from 1800 to 1200 BC. Although the Linear A language of Crete is still indecipherable up to this day, there are many images and cultural practices that relate to the Dionysus of popular Greek mythology. Due to Dionysus’s symbolic connection with the bull, it is interesting to point out that the Minoans used the head of a bull as a container for wine. In addition to the relation with the bull, the Minoans also participated in cultic worship of the bull, similar to the way that Greek culture of the mainland worshipped the bull as a symbol of Dionysus. Minoan Crete’s wine culture was also quite extensive, with vineyards in many palace locations. Much of the art that populates the location of these vineyards suggest Dionysian elements similar to those found on Greece’s mainland. Consequently, it is also likely that the cultivation of wine was brought to Greece’s mainland from Crete (Kerényi 53-56).

There is also some indication that a Dionysian figure was worshipped in the north-eastern region of Greece, Thrace. Although the worship of a god of wine occurred during the period of Minoan civilization, evidence suggests that the Minoans of Crete had a greater influence on Greece’s mainland in terms of worshipping a Dionysian figure (Kerényi 137-138).

Dionysus’s origin can also be traced back to Mycenaean culture, with recent evidence supporting the idea that the Peloponnese peninsula participated in early worship of the god. Several Linear B tablets in the Peloponnese which state his name support this argument. Also, the Aegean island of Keos reveals that he was worshipped continuously from the time of the Mycenae civilization to popular Grecian mythology (Hard 170).

The name Dionysus is thought to be a combination of aspects of his birth and childhood. The first part of his name, ‘Dio,’ relates to his birth from Zeus whose name translates in Greek to Dios. The second part of his name ‘nysus,’ is thought to be derived from the fact that he was raised by the nymphs of the island Nysa (Gantz 112). It is assumed that the popular worship of Dionysus evolved out of a Dionysian cult at Delphi which eventually made its way to Athens and ultimately developed into a Pan-Hellenic worship (Kerényi 205, 213). =Mythology =

Birth and Childhood of Dionysus
Dionysus is the son of Zeus and one of only two deities to be born of Zeus’s body, the other being Athena. His birth is an unusual one which was originally cultivated by Zeus’s mortal lover Semele. When it was revealed to Zeus’s wife Hera that Zeus was having an affair with a mortal woman, her envy led her into convincing Semele that the only way to become Zeus’s true lover was to experience him in all his divine glory. Hera carried out this scheming act by assuming the disguise of a mortal nurse giving aid to the pregnant Semele. These acts lead Semele to plead Zeus to grant her any wish that she desired. Zeus agreed, but upon learning that Semele desired to make love to him in his full divinity he hesitated, and implored her make a different wish. Semele was firm, and unwillingly Zeus agreed to the conditions. Zeus attended to Semele in his bedroom accompanied by thunder and lightning, but his godly magnificence was too powerfull for Semele’s mortal frame. Semele’s body burst to flames, and in blaze Zeus was able to save the fetus from Semele’s body, stitching it to his thy. Dionysus was born of Zeus nine months after his original conception (Hard 170-171). Due to the peculiarity of these events, Dionysus is often referred to as the twice-born god (Brooks, Lecture 8).

Upon the birth of Dionysus, Hera pursued her goal of destroying Dionysus. Hera ordered the Titans to seize the new-born and slay him. The Titans were successful as they tore Dionysus into pieces and boiled his remains to ensure that he would not survive. Dionysus’s paternal grandmother Rhea was able to save Dionysus from the Titans however, reconstructing his figure. Hera persisted, ensuring that Zeus would not be able to find a safe haven to keep Dionysus. Zeus finally succeeded by instructing Hermes to transform Dionysus into a kid or ram, and placing him among the nymphs of Mount Nysa. It was in this location that Dionysus invented wine, his most celebrated contribution among his worshippers. Dionysus was raised by the nymphs until manhood, causing him to have a feminine and slightly mad personality. Hera came to accept him at this age, although he had a very odd persona (Graves 103-104). 

A wine container representing the spirit of Dionysus by depicting a Satyr. Also symbolic for holding what Dionysus invented - wine. ﻿//Lidded Cauldron with Satyr.// Greek. c. 50-1 BC. The J. Paul Getty Museum, Malibu, CA. © James Sheehy.

Adulthood and Military Conquest
When Dionysus had reached adulthood, he set out on a quest across the Grecian lands establishing his worship among the different cultures. This stage of his life acts as the prelude to his acceptance to live among the gods. On this journey, Dionysus was accompanied by his tutor Silenus, and an army of his followers including Satyrs and Maenads (Graves 104). Most of the myths characteristic of Dionysus in his maturity revolve around ruling mortals who refuse to accept his divinity and try, unsuccessfully, to repress the worship of him (Hard 173).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">African Conquest
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Dionysus set off his journey by sailing to Egypt. As a sign of hospitality, Dionysus gifted the Egyptian King Proteus the grape vine to win favor. Dionysus continued his initial conquest to Libya, where he convinced the Amazon queens to assist him in his journey. Along with the Amazon queens, Dionysus was able to successfully defeat the Titans, and restore King Ammon to his throne, who was originally expelled by the Titans (Graves 104).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Indian Conquest
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Dionysus continued his expedition to India, a section of the journey filled with opposition. When Dionysus reached the Euphrates River en route to India, the King of Damascus fought him, only to be defeated. Dionysus continued his quest bridging the Euphrates with ivy and vines, then receiving assistance from Zeus to cross the Tigris River. Upon reaching India, Dionysus fought various waves of opposition, eventually conquering the entire country. Dionysus finished this leg of the journey by teaching the people of India how to cultivate vineyards, establishing law, and founding many of the country’s great cities (Graves 104).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Thracian Conquest and Lycurgus
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Dionysus continued his conquest in Thrace, but soon after he landed, he was assaulted by King Lycurgus of the Endonians. King Lycurgus attacked Dionysus’s army, taking everyone prisoner except for Dionysus who was able to escape and hide safely in Thetis’s grotto. Rhea saw the King’s resistance and in turn released all the prisoners belonging to Dionysus’s army and cursed Lycurgus by driving him to insanity. In his madness, Lycurgas killed and mutilated his own son with an axe, thinking he was cutting down one of Dionysus’s vines. Thrace became barren due to Lycurgus’s misdeeds against Dionysus, and Dionysus emerged telling the people of the land that the only way to make the land fertile again was to kill Lycurgus. The Thracians obliged, ending their opposition to Dionysus (Graves 105).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Conquest of Thebes and “The Bacchae”
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">The next section of the journey is a common fixture of Dionysian mythology made popular by Euripides’s play “The Bacchae.” In this narrative, Dionysus has arrived to Thebes to accrue followers and give his offering of the grape vine to the land. Upon seeing Dionysus, the arrogant King of Thebes, Pentheus, declares war against Dionysus and his bacchants (Euripides 90). In an attempt to secure Dionysus, Pentheus is tricked into thinking he has bound Dionysus, although Dionysus has caused Pentheus to bind a bull in his stead (98). Pentheus is persistent in his attempts to defeat Dionysus, although Dionysus offers a chance for his adversary to makes amends (104-105). Pentheus then tries to rescue his mother from a Bacchanal, which is the point when Dionysus seeks his revenge on him (109-110). Dionysus exacted his vengeance on Pentheus by ironically having his own mother, Agàve, brutally kill him (115). Upon learning the disaster that has occurred and ultimately realizing their disloyalty to Dionysus, Agàve and Pentheus’s grandfather, Cadmus, plead Dionysus for forgiveness, but to no avail:“Cadmus: ‘Have mercy, Dionysus/ we have sinned.’ Dionysus: ‘Too late to know me now: / you did not when you should.’” (124).This quotation is ultimately an archetype for much of the opposition that Dionysus faced among rulers during his conquests. Dionysus established his rule as supreme among the people of Thebes.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Conquest of Orchomenus and Minyas’s Daughters
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Dionysus arrived in Orchomenus, hoping to find more followers when he came across the three daughters of King Minyas. He initially invited the three daughters to join in Dionysus’s bacchanalia, an offer which the daughters refused. Upon hearing this refusal, Dionysus caused the daughters to succumb to insanity. One of the daughters offered up her son as a sacrifice to Dionysus, and in their madness they tore him apart and devoured him. Hermes saw this act, and to prevent further chaos, changed the daughters into birds. From that point on Dionysus was worshipped annually in Orchomenus during the Agrionia festival. In this festival, women gathered round to seek Dionysus, and upon concluding he rests with the Muses, sit in a circle telling riddles each other. The festival is concluded when a Dionysian priest exits his temple in search of these women, killing the first one he catches (Graves 106).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Conquest of the Aegean and encounter with Ariadne
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Dionysus furthered his conquest by traveling the Aegean islands for followers. When Dionysus sought a ship capable of sailing, he was able to find transportation from a group of Tyrrhenian sailors en route to Naxos. The sailors turned out to be pirates however, and not knowing Dionysus’s divinity, held him as a slave. Dionysus retaliated, filling the ship with phantom beasts, terrifying the pirates and eventually turning them into dolphins. Dionysus was able to continue his journey to Naxos, where he met Ariadne, abandoned by Theseus. Dionysus fell in love and married Ariadne, who bore him six children. Dionysus continued to his last leg of the journey – Argos. At Argos, Perseus first met Dionysus with opposition. When Dionysus gave an example of his power by inflicting insanity on the women of Argos, Perseus retracted his opposition. Seeking forgiveness, Perseus constructed a temple for Dionysus, cementing Dionysian rule throughout the land (Graves 106).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Ascension to Heaven and Further Mythology
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">After establishing his rule in the mortal world, Dionysus ascended to the heavens to live among Zeus and his fellow gods and goddesses. Dionysus took the place of the goddess Hestia, who had grown tired of the jealousy and indecency within the divine family. There exist several important tales during this period of Dionysus’s reign (Graves 106).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Rescue of Semele
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Not quite satisfied with his life in the heavens, Dionysus set out on a quest to rescue his deceased mother, Semele, from the underworld. Through the portal of Lerna, Dionysus descended to Hades. There, Dionysus met with the underworld goddess Persephone, with whom he was able to negotiate a deal to release Semele. By presenting her with a gift of myrtle, Persephone granted Dionysus’s wish, liberating Semele. Dionysus was able to help Semele to ascend to the heavens without problem by changing her name Thyone, as a disguise against the other gods. Zeus supported her, while a still envious Hera held back her anger (Graves 106).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">King Midas
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">In Ovid’s __Metamorphoses__, Dionysus continues to oversee affairs of the mortal world and interact with mortals. Upon seeing his old tutor Silenus continually entertained by King Midas, he decides to reward Midas. Midas is given the chance to have any wish of his granted by Dionysus, and due to his alcoholism, makes a wish which he soon regrets. In his drunken stupor, Midas wishes that whatever he touches be turned to gold, which Dionysus grants. Shortly upon making this wish, Midas realizes that absolutely everything he touches turns to gold, including food and water. In great hunger and thirst, Midas pleads Dionysus to relieve him of his ability, and Dionysus relents. Midas is told to wash himself in the Lydian river Pactolus, which symbolically washes Midas of his ability. In turn, the river and most of the landscape around it bear a great quantity of gold, while Midas is normal once again (Glenn 152). =<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Symbolism = <span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">The original symbolism of what Dionysus stood for consists of four characteristics: grape vines and wine, the bull, the snake, and ivy vines (Kerényi 52). His connection to the grape vines relates to his invention of wine during childhood, and teaching of viticulture across ancient Greece. The relation to the bull is derived from the fact that the head of a bull was an ancient vessel for drinking and storing wine (Kerényi 55). The snake also plays a significant role to Dionysus, as certain tablets of mythology describe the snake as the one who led Dionysus to finding the grape vine (60-61). Ivy vines also served an important purpose to Dionysus, as they serve as one of Dionysus’s names in Attica (translated to Kissos), and also a fair amount of ancient art attributes to this fact (62).

Dionysus bearded, holding a wine cup, and surrounded by grape and ivy vines. Also accompanied by a bull, a satyr and a maenad. //Storage Jar with Dionysus.// Greek. c. 510 BC.The J. Paul Getty Museum, Malibu, CA. © James Sheehy.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Symbols in Grecian Art
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">The god Dionysus also has a fair amount of distinct iconography represented in the classical period of Grecian art. Some of his most prominent characteristics of iconography during this era include: a grape leaf wreath, a wine cup, his staff (also known as Thyrsus), a drunken posture and facial expression, a beard (sometimes), grapes and grape vines, and a group of followers including bacchants, Satyrs and maenads (Brooks Lecture 8). It is also important to note that due to his representation of wine, Dionysus “was painted more often than any other religious or mythological figure on vessels that were used for drinking” (Getty Villa). =<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Cultural Significance = <span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Dionysus served an important role to Greek people. His first greatest contribution was his creation of wine, one of Greece’s most popular drinks next to water. Dionysus also served importance in regards to wine due to his teaching of wine cultivation among Greek civilization. Due to this strong connection to wine, Dionysus is often depicted as a drunken god who encourages festivities on a regular basis. Dionysus’s connection to women is also notable, and his involvement in what is known as bacchanalia is quite important. bacchanalia (also bacchanal) refers to sexually fueled social gatherings characterized by drunkenness and celebration of the spirit of Dionysus. It was common practice in Greece and Rome for worshippers to take part in Bacchanalia in festivals until it was briefly outlawed in 186 BC in Rome, only to be brought back by Julius Caesar during his rule (Kerényi 363). Followers of these ceremonies were often referred to as bacchants, while the female members of the ceremony were considered Maenads.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Dionysus was also popular among his followers for another reason – entertainment. Aside from playing a prominent role in the Eleusinian Mysteries, many of the plays and theatrical festivals were held in the honor of Dionysus. One of the most important forms of worship included the Satyr plays and tragedies. <span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">.

An example of costume typically worn during a Satyr play. //<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">﻿ Young Satyr with a Theater Mask//. Roman. c. 200-100 BC. The J. Paul Getty Museum, Malibu, CA. © James Sheehy ﻿ <span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">﻿.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Satyr Plays and Tragedies
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">The Satyr plays served as a testament to the Grecian people’s worship of the Dionysian spirit from the time of Classical Greece. Most Satyr plays were distinct from tragedies in the sense that a spirit of comedy was added to balance it out and bear a greater similarity to the jovial attitude of Dionysus. It is disputed whether or not Satyr plays or tragedies were developed first, yet some historians theorize that tragedies were an evolution of the idea of Satyr plays. It is believed that because plays began to take a much graver tone similar to tragedies, Satyr plays were developed to relate back to the Dionysian spirit. The differentiating factor between the two is the chorus of Satyrs which “gives satyr drama a more overtly, more visibly, Dionysiac coloring than tragedy” (Sourvinou-Inwood 171).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">City Dionysia
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">The City Dionysia was a type of festival during Greece’s Classical and Hellenistic period of Greece which celebrated the Dionysian spirit in the form of three tragedies followed by a Satyr play. It is also noted that after c. 487 BC a production of five comedies were also set in place. A statue of Dionysus would also stand in the theatre during the performances to represent the worship of his spirit (Sourvinou-Inwood 69). Some elements of the City Dionysia are thought to have come from its predecessor, and lesser festival known as Rural Dionysia (Sourvinou-Inwood 104).

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Lenaia Festival
<span style="font-family: Arial,Helvetica,sans-serif; font-size: 97%; line-height: normal;">Although not much is known of the Lenaia Festival, it was considered to be a celebration of Dionysus similar to that of City Dionysia. It is important to note that although historically it preceded the City Dionysia, it was a much smaller event. The Lenaia Festival is also reported to have had some influence on the way that City Dionysia was conducted (Sourvinou-Inwood 120-123).

=Bibliography= <span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Brooks, Jason. “Lecture 8: Greek Theater, Art, Alexander the Great.” //Humanities 111.// Pepperdine University. Malibu, CA. 16 June 2011.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Caravaggio. //Bacchus.// 1595. //Uffizi Gallery//, Florence. Virtual Uffizi. Web. 27 June 2011.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Euripides. “The Bacchae”//. Three Plays of Euripides.// Trans. Paul Roche. Toronto: Geroge J. McLeod Limited, 1974. Print.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Gantz, Timothy. //Early Greek Myth.// Baltimore: The Johns Hopkins University Press, 1993. Print.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">“The Faces of Dionysos.” Placard. The J. Paul Getty Museum at the Getty Villa, Malibu, CA., 2011. Print.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Glenn, Edgar. //The Metamorphoses: Ovid’s Roman Games.// Lanham, MD: University Press of America, Inc., 1986. Print.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Graves, Robert. //The Greek Myths, Volume 1.// Baltimore: Penguin Books Inc., 1960. Print.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Hard, Robin. //The Routledge Handbook of Greek Mythology.// New York: Routledge, 2004. Print.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Kerényi, Carl. //Dionysos: Archetypal Image of Indestructible Life.// Trans. Ralph Manheim. Princeton: Princeton University Press, 1976. Print.

<span style="font-family: 'Courier New',Courier,monospace;">//Lidded Cauldron with Satyr.// Greek. c. 50-1 BC. The J. Paul Getty Museum, Malibu, CA.

<span style="font-family: 'Courier New',Courier,monospace; font-size: 90%;">Sourvinou-Inwood, Christiane. //Tragedy and Athenian Religion.// Lanham, MD: Lexington Books, 2003. Print.

<span style="font-family: 'Courier New',Courier,monospace;">//Storage Jar with Dionysus.// Greek. c. 510 BC.The J. Paul Getty Museum, Malibu, CA.

<span style="font-family: 'Courier New',Courier,monospace;">//Young Satyr with a Theater Mask//. Roman. c. 200-100 BC. The J. Paul Getty Museum, Malibu, CA.