Great Books Ep 87. Euripides - The Bacchantes. The Ecstatic Experience: Dance Rituals and Altered States of the Mind
Dance rituals are practiced across cultures and seem to be fundamental to people who believe in the supernatural. They give people feelings of connection with the divine and a sense of transcendence.
“This god too hath prophetic power, for there is no small prophecy inspired by Bacchic frenzy; for whenever the god in his full might enters the human frame, he makes his frantic votaries foretell the future.”
~ ‘The Bacchantes’ by Euripides (Edward P. Coleridge translation. GB5 - p. 342)
Brief Summary
Dionysus, a god, has come to the land of Thebes in human form. He is the son of Zeus and Semele, daughter of Cadmus. He praises Cadmus for having kept the place where his mother was killed sacred. He has arrived here after traveling through a lot of places in Asia and Thebes is the first Greek city he has come to. He says his mother’s sisters had disowned her, saying that she had a child illicitly and tried to foist it on Zeus, and Zeus’ lightning killed her. But in truth, Semele was killed by Zeus’ lightning because she had asked Zeus to reveal himself. Dionysus punishes his mother’s sisters by causing a frenzy in their minds, which drives them out of their homes and into the hills. He wants to clear his mother’s name and wants to prove to the people in the city that he, the child born to Semele, is a diety that they should worship. He also says that the current rule of Thebes, Pentheus, Cadmus’ grandson, his first cousin, does not acknowledge his divinity.
The Chorus enters and gives more details about Dionysus. He was born prematurely when his mother died, and Zeus had hidden the baby in his thigh and fastened it with golden pins to hide from Hera. Elderly Cadmus and Teiresias enter and say that despite their old age, they should go to the hills and join the women in dance to honor the god Dionysus. Pentheus enters and is angry with the women, including his mother and aunts, who have gone to dance in the hills. He says he will arrest anyone who worships the new god by practicing wild rituals. He sees Cadmus and Teiresias dressed up to go to the hills to join the dance and is further angered. Teiresias and then Cadmus try to calm him down and explain the power of the gods, but he gets upset, asks them to go from there and says that he will destroy Dionysus’ seat and put an end to the revelry.
A servant comes in with a handcuffed man, saying that he was preaching about Dionysus and had willingly allowed himself to be captured. They also mention that people who Pentheus had arrested earlier for worshipping Dionysus have escaped magically since the stranger came and have gone to the meadows to dance. Pentheus mocks the stranger for his feminine looks of long hair and untanned skin. The stranger says that he is a devotee of Dionysus and has been initiated by him. He says foreigners already celebrate the god with dance, and the Greeks should also learn the wise ways. Pentheus says that foreigners are far behind in wisdom and has the stranger locked up. The stranger, who is actually Dionysus, easily escapes the imprisonment and is back at the palace talking to Pentheus, who is confused about what is happening. A messenger appears and reveals strange things he saw in the hills with the women. Pentheus wants to immediately go and capture all of them, but the stranger makes him feel intrigued about the practice and makes him want to check out the rituals in secret. He tells him that if he goes as a man, the women may kill him, and he advises him to dress up as a woman. Pentheus feels ashamed to become a woman, but the stranger tells him that he will take him through unknown roads so that people don’t see him. After Pentheus goes to dress up, the stranger tells the Chorus that he will take him through the city, making him a laughingstock. By the time Pentheus comes out, dressed as a woman with long hair and flowing dress, he has lost his mind. He sees two suns and two towns and sees the stranger who is leading him as a bull.
After a while, a messenger comes in and says that Pentheus is dead. He then goes on to explain what happened since he was with the king and the stranger when they went to the hills. The stranger led Pentheus to the forest and put him on top of a pine tree so that he could see the women dancing. Then he disappeared and appeared as Dionysus to the women, telling them that the man who mocked them was on the tree. They charge at the tree, throw stones and finally shake it vigorously. Pentheus falls down and, seeing his mother begs her to spare his life since he is her son. But since she is possessed, she is not aware of the reality and tears Pentheus’s arm from his body with superhuman strength. The messenger says that after dismembering him fully, Agave is coming to the town with her son’s head, not knowing that it is her son. Agave comes to the palace and tells the Chorus that she and her sisters killed a monster and have brought its head to show her son, Pentheus. Cadmus helps his daughter gradually recognize reality, and Agave realizes she has killed her own son.
Dionysus appears to pronounce final judgment, and Cadmus and his wife, Harmonia, are transformed into serpents. Agave, now fully distraught after having lost her son and her parents, tells Dionysus that it was wrong of her and her sisters to not recognize his divinity and asks to be spared. But Dionysus says it is too late and has them exiled from the city.
My Thoughts
It was curious to find Teiresias, the blind prophet, here since this story has Cadmus, who was the founder of Thebes. He played a key part in the story of Oedipus, who was a few generations after Cadmus. Looks like Teiresias lived a long life, probably 6-7 generations. He is mentioned in the Odyssey also when Circe asks Odysseus to go to Hades to consult him.
Back to the play, it was quite tragic and shocking. Agave and her sisters probably deserved the punishment due to their mistreatment of their sister Semele. Pentheus probably deserved punishment due to mocking the god and arresting the believers, but I’m not sure if Cadmus deserved punishment. The image of being in a trance-like state and doing unimaginable things was tough to shake away. The play is a tragedy as well as a horror.
I guess it might have been a message to the Greeks at the time to be not too rational and disregard the gods. It was also a warning to not have reluctance in accepting a new god. Pentheus mocks the new religion as dance and revelry, something that non-civilized people would engage in. I feel this is exactly the way most people today view tribal dances and people getting into a trance state during the frenzy of worship. I wouldn’t want to get into a trance-like state and do things that I’m not conscious of. I wonder what makes people drink or do drugs and let go of their minds and not remember anything that they had done the day before. Since there are laws against drinking and since people who dance in a frenzy are looked down upon, I guess modern society views these as backward practices.
Is the group dancing and getting into a trance state unique to humans? In the future, if a group of robots dance together chanting words, will they get into this state? Is getting into this state a factor of intelligence that we don’t know much about? We do dismiss people who utter things in a trance state as talking gibberish or attribute the words to random thoughts crisscrossing across the brain. But people in the past thought that they were visited by the gods and translated their words into future predictions. Even now, these practices are prevalent in remote cultures, and people wholeheartedly believe in them. Dance rituals are practiced across cultures and may not have been copied from one to another. They seem to be fundamental to people who believe in the supernatural. Based on people’s accounts, those who engage in these practices find them meaningful and transformative. They talk about feelings of connection with the divine, a sense of transcendence, or even question the nature of reality. The modern world is more connected than ever before; there are more adventures like skiing, snorkeling, paragliding, etc., to make people feel the awesomeness of nature, but still, some people yearn to get into a trance-like state and let go of their minds, as though consciousness is a constraint that they need a release from.
Gemini (AI Chatbot) Response
This play is a treasure trove of philosophical and psychological insights, and your observations are a great starting point. Let's dive in:
1. The Trans-like State and Rituals
You're right to pick up on the trance-like state depicted in the play. This state of ecstasy, where individuals lose their sense of self and feel connected to something larger, is a recurring theme across cultures and throughout history.
Why this state? Humans have a deep-seated need for transcendence – to move beyond the mundane and experience a sense of awe, connection, and unity. This might be a way to tap into a deeper reality, connect with the divine, or simply escape the limitations of individual consciousness. Thinkers like Mircea Eliade have explored the idea of "sacred time" and "sacred space" – rituals and altered states of consciousness allow individuals to step outside of ordinary time and experience the sacred.
Rituals as a Conduit: Rituals, especially those involving dance, music, and chanting, can induce these trance-like states. The repetitive movements, rhythmic sounds, and communal energy create a powerful sensory experience that can alter brainwave activity and lead to feelings of euphoria and transcendence.
The Dionysian Principle: Nietzsche, in "The Birth of Tragedy," contrasted the Dionysian (ecstasy, instinct, chaos) with the Apollonian (reason, order, individuality). He saw the Dionysian as a vital force in human experience, a way to connect with the primal energies of life. "The Bacchantes" vividly illustrates this Dionysian principle and the consequences of suppressing it.
2. Deeper Analysis of Themes and Symbolism
The Clash between Reason and Ecstasy: Pentheus represents reason and order, while Dionysus embodies the irrational and ecstatic. The play explores the tension between these forces, suggesting that a balanced life requires both. Pentheus's rigid adherence to reason blinds him to the power of the divine and ultimately leads to his destruction.
The Danger of Hubris: Pentheus's arrogance and his refusal to acknowledge Dionysus's divinity is a classic example of hubris. The play warns against the dangers of excessive pride and the importance of humility in the face of the unknown.
The Power of the Feminine: The Bacchantes, the female followers of Dionysus, represent the untamed, instinctive side of human nature. They are associated with nature, wildness, and the power of the collective. The play suggests that suppressing the feminine, as Pentheus attempts to do, can have disastrous consequences.
The Nature of Divinity: Dionysus is a complex and ambiguous god. He is both a source of joy and liberation, and a force of destruction and chaos. The play challenges easy definitions of divinity and suggests that the gods are not always benevolent or predictable.
Symbolism: The play is rich in symbolism. Wine represents the intoxicating power of Dionysus and the loss of inhibitions. The thyrsus (the staff carried by the Bacchantes) symbolizes fertility and ecstatic energy. Animal imagery (bulls, snakes) evokes the primal and instinctual.
Lessons for Today's World:
Embrace the Full Spectrum of Human Experience: Like the ancient Greeks, we live in a world that often prioritizes reason and logic. The play reminds us of the importance of also honoring our emotional, intuitive, and spiritual sides.
Beware of Extremism: Pentheus's rigid suppression of Dionysian worship and the Bacchantes' violent actions illustrate the dangers of extremism. The play encourages a balanced approach to life, integrating both reason and passion.
Respect the Unknown: The play cautions against dismissing or suppressing what we don't understand. Openness to new experiences and perspectives can lead to greater understanding and acceptance.
3. Thought-Provoking Questions for Modern Readers:
How do we balance the need for order and stability with the desire for freedom and self-expression in our own lives?
How do we navigate the tension between reason and faith, logic and intuition, in a world that often prioritizes the rational?
What are the modern equivalents of Dionysian worship? Where do we find opportunities for collective ecstasy and transcendence?
How do we define and understand the divine in a secular age?
What are the dangers of suppressing or denying aspects of our own nature, whether personal or collective?
How can we cultivate a healthy relationship with the "wild" within ourselves and in society?
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