Week 6

Preparation for Mon. Mar. 13

1. Read and take notes on the following article about the Dionysiac mysteries and the Thesmophoria festival that provide the context to Euripides’ Bacchae: http://www.perseus.tufts.edu/classes/LAp.html

2. Read the handout on Thebes and the Theban royal house given out in Friday’s class. You should know who the following members of the Theban royal family are: Agenor, Cadmus, Semele, Agave, Autonoe, Ino, Dionysus, Pentheus and Actaeon. Make out a who’s who list for yourself, then make marginal notes in your text of the play when you come across one of these characters.

If you are puzzled by any of these characters, look them up in a reputable online website, such as the Encyclopedia Mythica at http://www.pantheon.org/.

3. Read Euripides’ Bacchae (the whole play, i.e. Roche pp. 393-456). As you do, consider the following questions (also look ahead to Wednesday’s questions as you read).

4. Why does Pentheus object to Dionysus and his worshipers? What are the central issues at stake? Put on your psychologist’s hat and try to psychoanalyze Pentheus (this is an intensely psychological play).

5. Why does Pentheus decide to go up the mountain? Has he become a true bacchant (worshipper of Dionysus) or is he an imposter?

How can you tell?

Preparation for Wed. Mar. 15

*1. Write on either (a) or (b):

(a) All Greek tragedies require actors to wear costumes. But in Bacchae, characters within the play dress up or appear in disguise as well. In what ways does this affect how we understand the play?

(b) Dionysus is the god of theater. In what ways does Euripides exploit the possibilities of putting the god of theater on stage? (Think of instances in which Dionysus is orchestrating plots, using disguises, arranging special effects).

2. Look back over Agave’s recognition scene (pp. 442-452). We have already come across many recognition scenes. Which other recognition scenes does it remind you of, and what exactly is Cadmus’ role in the scene?

Preparation for Fri. Mar. 10.

1. Read the first half of Aristophanes’ Frogs (Arrowsmith pp. 479-540). An asterisk in the text indicates that there is an accompanying note in the back (pp. 585-595). There is also a glossary of names at the back of the book (pp. 599-619).

2. As you read through the play, consider the following questions (some of them require some note-taking).

a) What is your favorite line or short episode? Write it down or mark it in your text to share with the class.

b) Keep an eye out for metatheatrical comments (i.e. comments that show an awareness of the mimetic nature of theater qua theater, thereby acknowledging its exclusion from the ‘real world’ at the same time as it highlights the interplay between theater and its audience). The first such comment occurs in line 1. “Hey, boss, like me to perk things up a bit with one of those corny cracks that always get the audience laughing?” Xanthias’ opening gambit goes something like this:

“Yes, I know that I’m starring in your Classics 103 course – y’all all be tested on my play, so you’d better give me your undivided attention – shall I tell you the one about the Irishman who planned to blow…No? You’d rather I didn’t tell you about the Paddy who planned to blow up No. 10 but instead blew a Number 2? Oops – too late!”

c) Why does Dionysus wear Heracles’ clothing for his journey to the Underworld? What comic situations does this disguise create?

d) Make a list of the persons or institutions that are being lampooned in the play.