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Dionysus could bring holy ecstasy to his followers and cruel revenge to his foes. Associated with rebirth, he shaped religious practices across the Mediterranean until the dawn of Christianity. Dionysus was so much more than just the master of the vine; he was also charged with fertility, fruitfulness, theater, ecstasy, and abandon. Whether called Dionysus his Greek name or Bacchus his Roman one , he is perhaps the strangest of the gods in the vast classical pantheons. Though his pagan-like cults and mysteries may seem to have existed outside the usual Greco-Roman religious and philosophical spheres, archaeological evidence in the 20th century proved that he was a fully realized god. In that sense, Dionysus, a genial but wild and dangerously ravishing intermediary, represents one of the enduring mysteries and paradoxes of life. Wine is a delicious beverage with medicinal properties, but it also intoxicates. It brings liberation and ecstasy, yet, like any initiatory experience, it also introduced the risks of losing hold of identity and control. Many of the myths centered on Dionysus come from different sources. One of the most popular, the Bibliotheca , is a first- or second-century A. In the Bibliotheca , Zeus falls in love with a mortal princess Semele, and the two conceive a child. When Hera discovers the relationship, her jealousy drives her to try to destroy Semele and her unborn son. Because of his oath, Zeus cannot refuse and reveals his divinity, a sight that mortals cannot withstand. Semele burns to ashes. Zeus manages to save their unborn son and sews him into his own leg. After his extraordinary re birth, Zeus entrusts the infant Dionysus to the messenger god, Hermes. The baby is shielded from Hera and cared for and raised by nymphs. Stricken, the young god wanders aimlessly through the lands east of Greece, winding up first in Phrygia, a kingdom in the west-central part of Anatolia modern Turkey. Cured of his madness, Dionysus continues to travel, and he is not alone. In many of the tales surrounding him, he is accompanied by an entourage who worship Dionysus in a state of drunken revelry, holding lavish festal orgia rites in his honor. Among them are nymphs called maenads—also known as the Bacchae , or bacchantes, who form the crux of his traveling retinue the thiasus. Pan, the hirsute fertility god associated with shepherds, often took part, along with satyrs and sileni—wild creatures that were part man, part beast. The thiasus comprised animals such as big cats leopards, tigers, lynx and snakes as well. The group brings the gift of wine wherever it goes. Some modern scholars theorize that ancient Greeks believed that anywhere grapevines could be found and wine was cultivated, Dionysus had once visited. When Dionysus reaches India, on a chariot pulled by panthers, he conquers the land with wine and dance rather than weapons and war. Dionysus encounters different peoples and not all welcome him. Those who reject his teachings are swiftly and brutally punished. In Thrace parts of modern Bulgaria, Greece, and Turkey , he encounters King Lycurgus, who refuses to recognize his status as a god and imprisons his followers. To demonstrate his power, Dionysus drives the king insane. Lycurgus kills his own son after mistaking him for a grapevine. Recovering his senses, the king is horrified, but Dionysus is not satisfied. He demands that the king be put to death or no fruit will grow in the kingdom. Pentheus spies on a group of Theban women practicing their bacchanalian rites on a mountainside. Dionysus was not always cruel. When a band of Tyrrhenian pirates kidnapped the god off the west coast of what is now Italy, Dionysus responds by having grapevines sprout all over the ship. Realizing they were in the presence of a god, the terrified pirates threw themselves into the sea. Rather than let them drown, Dionysus transformed the sailors into dolphins. Through their gods, ancient Greeks changed the idea of life and death. Worship of Dionysus was not uniform in the classic world. Some of it was public and organized, while other rituals were mysterious and carried out in secret. Many Greeks showed their reverence for Dionysus through festivals; in Rome, where he was called Bacchus, these became the Bacchanalia—wild rituals celebrated at night in forests and mountains. The maenads would enter a delirious state of ecstasy, then— inspired by the personification of Dionysus in the form of a priest—dance wildly before setting out on a hunt. In Hellenic culture, Dionysus embodied a symbol of communal cohesion and reconciliation, closely connected with the theater. Dating as early as the sixth century B. On the first day, a procession would open the festival as a statue of Dionysus was borne to his theater. According to tradition, tragedy was originally related to songs from the Dionysian feast of the tragos , goat, and oidos , song. Actors who gave the best performances would also be awarded prizes. Those taking first place would be given wreaths of ivy, in a nod to the patron god of wine. Dionysus was also worshipped through a series of secret rituals known today as the Dionysian Mysteries. As the patron of the Dionysian Mysteries—secret rites to which only initiates were admitted, such as those performed in honor of Demeter, goddess of agriculture, and later, of Isis originally from Egypt and Mithras originally from Iran —Dionysus was a disruptive deity, entering civilization and throwing out the established order. When he arrived, liberation and transgression had their turn. The sacred Oracle at Delphi was lost for a millennium. Here's how it was found. At first glance these mysteries, and the orgiastic rites that surrounded Dionysus, seem to run counter to the harmonious and ordered view of classical Greek religion. For this reason, many scholars, especially of the German tradition, for a long time did not believe that Dionysus could be truly Hellenic. They considered him to be a foreign god, perhaps Thracian or Phrygian, and discounted the possibility that the myths around his death and resurrection could be Greek. Positivist scholars of the 19th century argued that Dionysus was an imported rather than a Greek god, and that the maenads existed only in myth and literature. These preconceptions changed over the course of the 20th century. In , thanks to the decipherment of Linear B script—the writing system used by the Mycenaean civilization, which predates the Greek alphabet by several centuries—researchers learned that Dionysus was indeed known in Greece as far back as the 13th century B. Ancient Mycenaean tablets found in the palace of Pylos, in the Peloponnese region of southern Greece, mention his name and prove that Dionysus was not a god adopted from abroad, but a profoundly Greek divinity. Dionysus was thus a fully Greek god, whose popularity has spanned different time periods and guises; he is depicted as both a beautifully effeminate, long-haired youth and a corpulent, bearded mature man. The Greek Dionysus and the Roman Bacchus are functionally the same god, but there are a few key differences. Dionysus—a noble, youthful figure in myth and classical literature—is usually listed alongside the 12 Olympian gods. Bacchus, on the other hand, is often seen as a portly older man who, according to the Roman poet Ovid, could be vengeful, using his staff as both a magic wand and a weapon against those who dared oppose his cult and its ideals of freedom. These gods shared a number of characteristics, including being male, having divine fathers and mortal virgin mothers, and being reborn as gods. The Egyptian god Osiris, for instance, was equated with Dionysus by the Greek historian Herodotus during the fifth century B. By late antiquity, some gnostic and Neoplatonist philosophers had expanded the syncretic equation to include Aion, Adonis, and other gods of the mystery religions. Scholars also note links between the life-giving wine of the Dionysian cult and the centrality of wine in the Christian Eucharist, as well as parallels between the Greek god and Christ himself. The sixth-century B. Twentieth-century thinkers such as James Frazer saw Dionysus and Christ in the context of an eastern Mediterranean tradition of dying-and-rising gods, whose sacrifice and resurrection redeemed their people. Clearly Dionysus continues to cast a long shadow. Given the prevalence and power of wine and early ecstasy, it is no mystery why. All rights reserved. Dionysus, Greek god of wine and revelry, was more than just a 'party god' Dionysus could bring holy ecstasy to his followers and cruel revenge to his foes. Fancy a drink? In this oil painting from , Caravaggio depicted Bacchus the Roman name for Dionysus as a callow adolescent, his head crowned with grape leaves and a glass of wine in hand. Scala, Florence. Dionysus is depicted as an older man on a sixth-century B. Photograph by ACI. Births and deaths Many of the myths centered on Dionysus come from different sources. Death at first sight Pregnant with Dionysus, Semele perishes after demanding to see Zeus in all his glory in this 17th-century oil painting by Luca Ferrari. Image courtesy of Scala, Florence. The infant Dionysus The infant Dionysis is portrayed in a fourth-century B. Fruit of the vine A youthful Dionysus is crowned with grapes in a first-century A. Wanderings and wine Cured of his madness, Dionysus continues to travel, and he is not alone. Heroic homecoming Dionysus returns to Greece from India. He is represented here in this circa oil painting by Pietro da Cortona as a child holding bunches of grapes. Around him, maenads, satyrs, and the drunk Silenus venerate this god who has given humanity the precious gift of wine. Scala, Florenca. Gruesome finish The graphic death of the mythical King Pentheus of Thebes is depicted in this fresco from the House of the Vettii in Pompeii. In The Bacchae, Euripides recounts how Pentheus was dismembered by a group of maenads—including his own mother, Agave—while the women were in the throes of an ecstatic Dionysian frenzy. Showing mercy The legend of Dionysus turning Tyrrhenian pirates into dolphins is depicted on a kylix , a shallow drinking cup, from B. Footloose and fancy feet Maenads, like this first century A. Party people In an attic red-figure krater from B. All the world's a stage Located at the foot of the Acropolis in Athens, the Theater of Dionysus was first erected between the sixth and fifth centuries B. After subsequent renovations, it was enlarged to seat as many as 17, spectators. The seating is set into the hillside and faces a temple dedicated to Dionysus, god of the theater. Photograph by J. Delirium of 'The Bacchae'. Two theatrical masks—one tragic, one comic—adorn this marble relief from the second century A. In the Temple of Bacchus In this detail from an oil painting by Giovanni Muzzioli, a maenad dances in front of a slumped and drunken man. His likeness appears on both sides of this kantharos from B. Here, she's shown in a figurine at the Metropolitan Museum in New York. Dionysus is flanked by Apollo, god of archery, and Aphrodite, goddess of love, in this fresco from Pompeii, now at the National Archaeological Museum in Naples. Sleeping beauty. Sleeping beauty A Roman sarcophagus from the third century A. The pair fell in love, married, and had children, including Oenopian the personification of wine , Staphylus associated with grapes , and Thoas. Photograph by H. A Roman sarcophagus from the third century A. This magnificent composition depicts a well-known episode from classical mythology. Theseus cruelly abandons her on the island of Naxos, and she is devastated by his abandonment. Ariadne falls asleep and is discovered by Dionysus, who arrives on Naxos accompanied by his retinue. He immediately falls in love with her, and they marry. The decoration of the sarcophagus shows a band of satyrs playing instruments and maenads dancing wildly. Centaurs appear as well, including a mother holding her little son in her arms. The episode is a fitting scene for a sarcophagus like this one, from the third century A. Near the top of the facade is a human figure whose features are unfinished. It may have meant to be the deceased, whose features may also have supplied the likeness for the unfinished Ariadne. Likewise, a central blank space at the top was possibly intended for an inscription. Odds and ends The lavish decoration on the sarcophagus, which was discovered in near Bordeaux, France, continues past the ornate facade to the ends of the tomb. The horned god Pan can be seen playing his flute at one end, while a satyr is seen tending to a child and goat on the other. You May Also Like. United States Change.

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