Dionysus

Dionysus (/da.nass/; Greek: Dionysos) is the god of the grape

Dionysus
harvest, winemaking and wine, of ritual madness, fertility,[2][3] theatre and religious
ecstasy in ancient Greek religion and myth. Wine played an important role in Greek God of the vine, grape harvest,
culture, and the cult of Dionysus was the main religious focus for its unrestrained winemaking, wine, ritual
consumption.[4] His worship became firmly established in the seventh century BC.
[5] madness, religious ecstasy, and
He may have been worshipped as early as c. 15001100 BC by Mycenean theatre
Greeks;[6][7] traces of Dionysian-type cult have also been found in ancient Minoan
Crete.[8] His origins are uncertain, and his cults took many forms; some are
described by ancient sources as Thracian, others as Greek.[9][10][11] In some cults,
he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the
South. He is a god of epiphany, "the god that comes", and his "foreignness" as an
arriving outsider-god may be inherent and essential to his cults. He is a major,
popular figure of Greek mythology and religion, becoming increasingly important
over time, and included in some lists of the twelve Olympians, as the last of their
number, and the only god born from a mortal mother.[12] His festivals were the
driving force behind the development ofGreek theatre.[13]

The earliest cult images of Dionysus show a mature male, bearded and robed. He
holds a fennel staff, tipped with a pine-cone and known as a thyrsus. Later images
show him as a beardless, sensuous, naked or half-naked androgynous youth: the
literature describes him as womanly or "man-womanish".[14] In its fully developed
form, his central cult imagery shows his triumphant, disorderly arrival or return, as if
from some place beyond the borders of the known and civilized. His procession
(thiasus) is made up of wild female followers (maenads) and bearded satyrs with
erect penises; some are armed with the thyrsus, some dance or play music. The god
himself is drawn in a chariot, usually by exotic beasts such as lions or tigers, and is
sometimes attended by a bearded, drunken Silenus. This procession is presumed to
be the cult model for the followers of his Dionysian Mysteries. Dionysus is 2nd-century Roman statue of
represented by city religions as the protector of those who do not belong to Dionysus, after a Hellenistic model
conventional society and he thus symbolizes the chaotic, dangerous and unexpected, (ex-coll. Cardinal Richelieu,
everything which escapes human reason and which can only be attributed to the Louvre)[1]
unforeseeable action of the gods.[15]
Abode Mount Olympus
He is also known as Bacchus (/bks/ or /bks/; Greek: , Bakkhos), the Symbol Thyrsus, grapevine,
name adopted by the Romans[16] and the frenzy he induces is bakkheia. His thyrsus, leopard skin, panther,
sometimes wound with ivy and dripping with honey, is both a beneficent wand and a tiger, cheetah
weapon used to destroy those who oppose his cult and the freedoms he represents. Personal Information
As Eleutherios ("the liberator"), his wine, music and ecstatic dance free his
Consort Ariadne
followers from self-conscious fear and care, and subvert the oppressive restraints of
the powerful. Those who partake of his mysteries are possessed and empowered by Children Priapus, Hymen,
the god himself.[17] Thaos, Staphylus,
Oenopion, Comus,
The cult of Dionysus is also a "cult of the souls"; his maenads feed the dead through Phthonus, the Graces
blood-offerings, and he acts as a divine communicant between the living and the
Parents Zeus and Persephone
dead.[18] He is sometimes categorised as adying-and-rising god.[13]
(Orphic), Zeus and
In Greek mythology, he is presented as a son of Zeus and the mortal Semele, thus Semele
semi-divine or heroic: and as son of Zeus and Persephone or Demeter, thus both Siblings Aeacus, Angelos,
fully divine, part-chthonic and possibly identical with Iacchus of the Eleusinian Aphrodite, Apollo, Ares,
Mysteries. Some scholars believe that Dionysus is a syncretism of a local Greek Artemis, Athena,
nature deity and a more powerful god from Thrace or Phrygia such as Sabazios or Eileithyia, Enyo, Eris,
Zalmoxis. Ersa, Hebe, Helen of
Troy, Hephaestus,
Heracles, Hermes,
Minos, Pandia,
Contents Persephone, Perseus,
1 Mythology
Rhadamanthus, the
1.1 Birth, infant death and rebirth Graces, the Horae, the
1.2 Infancy at Mount Nysa Litae, the Muses, the
1.3 Childhood Moirai
1.4 Other myths
Roman Bacchus, Liber
1.4.1 Midas
1.4.2 Pentheus
equivalent
1.4.3 Lycurgus Etruscan Fufluns
1.4.4 Prosymnus equivalent
1.4.5 Ampelus
1.4.6 Chiron
1.4.7 Secondary myths
1.5 Consorts and children
2 Symbolism
3 Bacchus and the Bacchanalia
4 In the arts
4.1 Classical art
4.2 Art from the Renaissance on
4.3 Modern literature and philosophy
Marble sarcophagus with the
4.4 Modern film and performance art
Triumph of Dionysos and the
5 Worship after Christianization of Europe Seasons. Roman ca. AD 260270
6 Parallels with Christianity
6.1 Death and Resurrection
6.2 The Trial
6.3 Sacred Food and Drink
6.4 Other parallels
7 Names
7.1 Etymology
7.2 Epithets
8 Genealogy
9 Gallery
10 See also
11 Notes
12 References
13 Further reading
14 External links

Mythology
Birth, infant death and rebirth
Dionysus had a strange birth that evokes the difficulty in fitting him into the Olympian pantheon. His mother was a mortal woman,
Semele, the daughter of king Cadmus of Thebes, and his father was Zeus, the king of the gods. Zeus's wife, Hera, discovered the
affair while Semele was pregnant. Appearing as an old crone (in other stories a nurse), Hera befriended Semele, who confided in her
that Zeus was the actual father of the baby in her womb. Hera pretended not to believe her, and planted seeds of doubt in Semele's
mind. Curious, Semele demanded of Zeus that he reveal himself in all his glory as proof of his godhood.

Though Zeus begged her not to ask this, she persisted and he agreed. Therefore, he came to her wreathed in bolts of lightning;
mortals, however, could not look upon an undisguised god without dying, and she perished in the ensuing blaze. Zeus rescued the
unborn Dionysus by sewing him into his thigh. A few months later, Dionysus was born on Mount Pramnos in the island of Ikaria,
where Zeus went to release the now-fully-grown baby from his thigh. In this version, Dionysus is born by two "mothers" (Semele and
Zeus) before his birth, hence the epithetdimtr (of two mothers) associated with his being "twice-born".

In the Cretan version of the same story, which Diodorus Siculus follows,[19] Dionysus was the son of Zeus andPersephone, the queen
of the Greek underworld. Diodorus' sources equivocally identified the mother as Demeter.[20] A jealous Hera again attempted to kill
the child, this time by sending Titans to rip Dionysus to pieces after luring the baby with toys. It is said that he was mocked by the
Titans who gave him a thyrsus (a fennel stalk) in place of his rightful sceptre.[21] Zeus turned the Titans into dust with his
thunderbolts, but only after the Titans ate everything but the heart, which was saved, variously, by Athena, Rhea, or Demeter. Zeus
used the heart to recreate him in histhigh, hence he was again "the twice-born".

Other versions claim that Zeus recreated him in Semele's womb or that he impregnated Semele by giving her the heart to eat.

His rebirth is the primary reason for the worship of Dionysus in several mystery religions. Variants of the narrative are found in
Callimachus and Nonnus, who refer to this Dionysus with the title Zagreus, and also in several fragmentary poems attributed to
Orpheus.

The myth of the dismemberment of Dionysus by the Titans, is alluded to by Plato in his Phaedo (69d) in which Socrates claims that
the initiations of the Dionysian Mysteries are similar to those of the philosophic path. Late Neo-Platonists such as Damascius explore
the implications of this at length.[22]
 Dionysus extending a drinking cup Dionysos riding a cheetah,
(kantharos), late 6th century BC Macedonian mosaic from Pella,
Greece, 4th century BC

Birth of Dionysus, on a small

sarcophagus that may have been
made for a child (Walters Art
Museum)[23]

Infancy at Mount Nysa

According to the myth, Zeus gave the infant Dionysus to the care of Hermes. One version of the story is that Hermes took the boy to
King Athamas and his wife Ino, Dionysus' aunt. Hermes bade the couple to raise the boy as a girl, to hide him from Hera's wrath.[24]
Another version is that Dionysus was taken to the rain-nymphs of Nysa, who nourished his infancy and childhood, and for their care
Zeus rewarded them by placing them as theHyades among the stars (see Hyades star cluster). Other versions have Zeus giving him to
Rhea, or to Persephone to raise in the Underworld, away from Hera. Alternatively
, he was raised by Maro.

Dionysus in Greek mythology is a god of foreign origin, and while Mount Nysa is a mythological location, it is invariably set far
away to the east or to the south. The Homeric hymn to Dionysus places it "far from Phoenicia, near to the Egyptian stream". Others
placed it in Anatolia, or inLibya ("away in the west beside a great ocean"), in Ethiopia (Herodotus), orArabia (Diodorus Siculus).

According to Herodotus:

As it is, the Greek story has it that no sooner was Dionysus born than Zeus
sewed him up in his thigh and carried him away to Nysa in Ethiopia beyond
Egypt; and as for Pan, the Greeks do not know what became of him after his
 birth. It is therefore plain to me that the Greeks learned the names of these two
gods later than the names of all the others, and trace the birth of both to the
time when they gained the knowledge.

Herodotus, Histories 2.146

The Bibliotheca seems to be following Pherecydes, who relates how the infant Dionysus, god
of the grapevine, was nursed by the rain-nymphs, theHyades at Nysa.

Childhood
When Dionysus grew up, he discovered the culture of the vine and the mode of extracting its
precious juice, being the first to do so;[25] but Hera struck him with madness, and drove him
forth a wanderer through various parts of the earth. In Phrygia the goddess Cybele, better
known to the Greeks as Rhea, cured him and taught him her religious rites, and he set out on a
progress through Asia teaching the people the cultivation of the vine. The most famous part of Hermes and the Infant
his wanderings is his expedition toIndia, which is said to have lasted several years. According Dionysus by Praxiteles,
to a legend, when Alexander the Great reached a city called Nysa near the Indus river, the (Archaeological Museum of
Olympia).
locals said that their city was founded by Dionysus in the distant past and their city was
dedicated to the god Dionysus.[26] These travels took something of the form of
military conquests; according to Diodorus Siculus he conquered the whole world
except for Britain and Ethiopia.[27] Returning in triumph (he was considered the
founder of the triumphal procession) he undertook to introduce his worship into
Greece, but was opposed by some princes who dreaded its introduction on account
of the disorders and madness it brought with it (e.g.Pentheus or Lycurgus).

Dionysus was exceptionally attractive. One of the Homeric hymns recounts how,
while disguised as a mortal sitting beside the seashore, a few sailors spotted him,
believing he was a prince. They attempted to kidnap him and sail him far away to
sell for ransom or into slavery. They tried to bind him with ropes, but no type of rope
could hold him. Dionysus turned into a fierce lion and unleashed a bear on board,
killing those he came into contact with. Those who jumped off the ship were The Dionysus Cup, a 6th-century BC
mercifully turned into dolphins. The only survivor was the helmsman, Acoetes, who kylix with Dionysus sailing with the
[28] pirates he transformed to dolphins
recognized the god and tried to stop his sailors from the start.

In a similar story, Dionysus desired to sail from Icaria to Naxos. He then hired a
Tyrrhenian pirate ship. However, when the god was on board, they sailed not to
Naxos but to Asia, intending to sell him as a slave. So Dionysus turned the mast and
oars into snakes, and filled the vessel with ivy and the sound of flutes so that the
sailors went mad and, leaping into the sea, were turned into dolphins. In Ovid's
Metamorphoses Bacchus begins this story as a young child, found by the pirates, but
transforms to a divine adult when on board. Malcolm Bull notes that "It is a measure
Bacchus/ Dionysus returning from
of Bacchus's ambiguous position in classical mythology that he, unlike the other
India.
Olympians, had to use a boat to travel to and from the islands with which he is
associated".[29]

Other myths

Midas
Dionysus discovered that his old school master and foster father, Silenus, had gone
missing. The old man had been drinking, and had wandered away drunk, and was
found by some peasants, who carried him to their king (alternatively, he passed out
in Midas' rose garden). Midas recognized him, and treated him hospitably,
entertaining him for ten days and nights with politeness, while Silenus entertained
Midas and his friends with stories and songs. On the eleventh day, he brought
Silenus back to Dionysus. Dionysus offered Midas his choice of whatever reward he
Triumph of Dionysus.
wanted.

Midas asked that whatever he might touch should be changed into gold. Dionysus
consented, though was sorry that he had not made a better choice. Midas rejoiced in
his new power, which he hastened to put to the test. He touched and turned to gold
an oak twig and a stone. Overjoyed, as soon as he got home, he ordered the servants
to set a feast on the table. Then he found that his bread, meat, and wine turned to
gold. Later, when his daughter embraced him, she too turned to gold.

Upset, Midas strove to divest himself of his power (the Midas Touch); he hated the
North African Roman mosaic:
gift he had coveted. He prayed to Dionysus, begging to be delivered from starvation.
Panther-Dionysus scatters the
Dionysus heard and consented; he told Midas to wash in the river Pactolus. He did pirates, who are changed to
so, and when he touched the waters the power passed into them, and the river sands dolphins, except for Acoetes, the
changed into gold. This was an etiological myth that explained why the sands of the helmsman; 2nd century AD (Bardo
Pactolus were rich in gold. National Museum)

Pentheus
In the play The Bacchae by Euripides, Dionysus returns to
his birthplace, Thebes, which is ruled by his cousin
Pentheus. Pentheus, his mother Agave, and his aunts Ino
and Autonoe do not believe that Dionysus is a son of Zeus.
Despite the warnings of the blind prophet Tiresias, they
deny him worship; instead, they arraign him for causing
madness among the women of Thebes.

Dionysus uses his divine powers to drive Pentheus insane,

then invites him to spy on the ecstatic rituals of the Pentheus torn apart by Agave and Ino. Attic red-figure
Maenads, in the woods of Mount Cithaeron. Pentheus, lekanis (cosmetics bowl) lid, c. 450-425 BC (Louvre)
hoping to witness a sexualorgy, hides himself in a tree. The
Maenads spot him; maddened by Dionysus, they take him
to be a mountain lion, and attack him with their bare hands. Pentheus' aunts, and his mother, Agave, are among them; they rip him
limb from limb. Agave mounts his head on a pike, and takes the trophy to her father, Cadmus. The madness passes. Dionysus arrives
in his true, divine form, banishes Agave and her sisters, and transforms Cadmus and his wife Harmonia into serpents. Only Tiresias is
spared.[30]

Lycurgus
When King Lycurgus of Thrace heard that Dionysus was in his kingdom, he imprisoned Dionysus' followers, the Maenads. Dionysus
fled and took refuge with Thetis, and sent a drought which stirred the people into revolt. Dionysus then drove King Lycurgus insane
and had him slice his own son into pieces with an axe in the belief that he was a patch of ivy
, a plant holy to Dionysus. Anoracle then
claimed that the land would stay dry and barren as long as Lycurgus was alive. His people had him drawn and quartered. Following
 the death of the king, Dionysus lifted the curse. This story is told in Homer's epic, Iliad 6.136-
7. In an alternative version, sometimes shown in art, Lycurgus tries to kill Ambrosia, a
follower of Dionysus, who was transformed into a vine that twined around the enraged king
and restrained him, eventually killing him.[31]

Prosymnus
Dionysus was of the few Olympians with the
power to remove deceased mortals from the
underworld, and thus restore them to life. He
descended to the underworld (Hades) to
rescue his mother Semele, whom he had not
seen since his birth, making the descent by
Lycurgus trapped by the way of a reputedly bottomless pool on the
vine, on the Lycurgus Cup coast of the Argolid near the prehistoric site
of Lerna, and bypassing Thanatos, the god of
death. According to Clement of Alexandria,
Dionysus was guided by Prosymnus or Polymnus, who requested, as his reward, to
be Dionysus' lover. Dionysus returned Semele to Mount Olympus; but Prosymnus Badakshan patera, "Triumph of
died before Dionysus could honor his pledge, so in order to satisfy Prosymnus' Bacchus", British Museum.

shade, Dionysus fashioned a phallus from an olive branch and sat on it at

Prosymnus' tomb.[32] This story survives in full only in Christian sources whose aim
was to discredit pagan mythology. It appears to have served to explain the secret objects of theDionysian Mysteries.[33]

Ampelus
Another myth according toNonnus involves Ampelus, a satyr, who was loved by Dionysus. As related byOvid, Ampelus became the
constellation Vindemitor, or the "grape-gatherer":

...not so will the Grape-gatherer escape thee. The origin of that constellation also can be briefly told. 'Tis said that the unshorn Ampelus,
son of a nymph and a satyr, was loved by Bacchus on the Ismarian hills. Upon him the god bestowed a vine that trailed from an elms leafy
boughs, and still the vine takes from the boy its name. While he rashly culled the gaudy grapes upon a branch, he tumbled down; Liber
bore the lost youth to the stars."[34]

Another story of Ampelus was related by Nonnus: in an accident foreseen by Dionysus, the youth was killed while riding a bull
maddened by the sting of a gadfly sent by At, the Goddess of Folly. The Fates granted Ampelus a second life as a vine, from which
Dionysus squeezed the first wine.[35]

Chiron
Young Dionysus was also said to have been one of the many famous pupils of the centaur Chiron. According to Ptolemy Chennus in
the Library of Photius, "Dionysus was loved by Chiron, from whom he learned chants and dances, the bacchic rites and
initiations."[36]

Secondary myths
When Hephaestus bound Hera to a magical chair, Dionysus got him drunk and brought him back to Olympus after he passed out.

A third descent by Dionysus to Hades is invented by Aristophanes in his comedy The Frogs. Dionysus, as patron of the Athenian
dramatic festival, the Dionysia, wants to bring back to life one of the great tragedians. After a competition Aeschylus is chosen in
preference to Euripides.
When Theseus abandoned Ariadne sleeping on Naxos, Dionysus
found and married her. She bore him a son named Oenopion, but he
committed suicide or was killed by Perseus. In some variants, he had
her crown put into the heavens as the constellation Corona; in others,
he descended into Hades to restore her to the gods on Olympus.
Another different account claims Dionysus ordered Theseus to
abandon Ariadne on the island of Naxos for he had seen her as
Theseus carried her onto the ship and had decided to marry her
.

Psalacantha, a nymph, failed at winning the love of Dionysus as his

main love interest at the moment was Ariadne, and ended up being The winged daimon Dionysus riding a tiger, from
changed into a plant. the House of Dionysusin Delos, Greece,
Hellenistic mosaic from the 2nd century BC
Callirrhoe was a Calydonian woman who scorned Coresus, a priest
of Dionysus, who threatened to afflict all the women of Calydon with
insanity (see Maenad). The priest was ordered to sacrifice Callirhoe
but he killed himself instead. Callirhoe threw herself into a well
which was later named after her.

Consorts and children

1. Aphrodite 5. Nicaea
1. Charites (Graces) 1. Telete
1. Pasithea 6. Araethyrea or
2. Euphrosyne Chthonophyle (or again
3. Thalia Ariadne)
1. Phlias
2. Priapus
3. Hymenaios 7. Physcoa
1. Narcaeus
2. Ariadne
1. Oenopion 8. Pallene
Bacchus and Ariadne by Titian, at the National
2. Staphylus 9. Carya Gallery in London.
3. Thoas 10. Percote
4. Peparethus 1. Priapus (possibly)[37]
5. Phanus 11. Chione, Naiad nymph
6. Eurymedon 1. Priapus (possibly)[38]
7. Euanthes 12. Alexirrhoe
8. Latramys 1. Carmanor
9. Tauropolis 13. Alphesiboea
10. Ceramus 1. Medus
3. Circe 14. Nyx
1. Comus 1. Phthonus
4. Aura 15. Althaea
1. Iacchus 1. Deianira
2. twin of Iacchus, killed 16. unnamed
by Aura instantly 1. Thysa[39]
upon birth

Symbolism
The bull, serpent, tiger, ivy, and wine are characteristic of Dionysian iconography. Dionysus is also strongly associated with satyrs,
centaurs, and sileni. He is often shown riding a leopard, wearing a leopard skin, or in a chariot drawn by panthers, and may also be
recognized by the thyrsus he carries. Besides the grapevine and its wild barren alter-ego, the toxic ivy plant, both sacred to him, the
fig was also his symbol. Thepinecone that tipped his thyrsus linked him toCybele.
The Dionysia and Lenaia festivals in Athens were dedicated to Dionysus. On
numerous vases (referred to as Lenaia vases), the god is shown participating in the
ritual sacrifice as a masked and clothed pillar (sometimes a pole, or tree is used),
while his worshipers eat bread and drink wine. Initiates worshipped him in the
Dionysian Mysteries, which were comparable to and linked with the Orphic
Mysteries, and may have influenced Gnosticism. Orpheus was said to have invented
the Mysteries of Dionysus.[40]

Dionysus was a god of resurrection and he was

strongly linked to the bull. In a cult hymn from
Olympia, at a festival for Hera, Dionysus is
invited to come as a bull; "with bull-foot
raging". Walter Burkert relates, "Quite Satyr giving a grapevine to Bacchus
as a child; cameo glass, first half of
frequently [Dionysus] is portrayed with bull
A sculpted phallus at the the 1st century AD; from Italy
horns, and in Kyzikos he has a tauromorphic
entrance of the temple of
image", and refers also to an archaic myth in
Dionysus in Delos,
which Dionysus is slaughtered as a bull calf and impiously eaten by the Titans.[13] In the
Greece.
Classical period of Greece, the bull and other animals identified with deities were separated
from them as their agalma, a kind of heraldic show-piece that concretely signified their
numinous presence.[13]

The snake and phallus were symbols of Dionysus in ancient Greece, and of Bacchus in Greece and Rome.[41][42][43] He typically
wears a panther or leopard skin and carries a Thyrsus a long stick or wand topped with a pine cone. His iconography sometimes
[44][45][46]
include maenads, who wear wreaths of ivy and serpents around their hair or neck.

In the Orphic tradition of ancient Greece, Dionysus Zagreus served as its patron god connected to death and immortality, and
symbolized the one who guidesreincarnation.[47]

Bacchus and the Bacchanalia

A mystery cult to Bacchus was brought to
Rome from the Greek culture of southern
Italy or by way of Greek-influenced
Etruria. It was established c.200 BC in the
Aventine grove of Stimula by a priestess
from Campania, near the temple where
Liber Pater ("The Free Father") had a
State-sanctioned, popular cult. Liber was a
native Roman god of wine, fertility, and
Bronze head of Dionysus, 50 BC -50
prophecy, patron of Rome's plebeians
AD, in the British Museum[48]
(citizen-commoners) and a close equivalent
Bacchus by Caravaggio to Bacchus-Dionysus Eleutherios.

The Bacchic rituals contained omophagic practices such as pulling live animals apart and
eating the whole of them raw. This practice served not only as a reenactment of the infant death and rebirth of Bacchus, but also as a
means by which Bacchic practitioners produced "enthusiasm": etymologically, to let a god enter the practitioner's body or to have her
become one with Bacchus.[49][50]

In Livy's account, the Bacchic mysteries were a novelty at Rome; originally restricted to women and held only three times a year,
they were corrupted by an Etruscan-Greek version, and thereafter drunken, disinhibited men and women of all ages and social classes
cavorted in a sexual free-for-all five times a month. Livy relates their various outrages against Rome's civil and religious laws and
traditional morality (mos maiorum); a secretive, subversive and potentially revolutionary counter-culture. Livy's sources, and his own
account of the cult, probably drew heavily on the Roman dramatic genre known as "Satyr plays", based on Greek originals.[51][52]
The cult was suppressed by the State with great ferocity; of the 7,000 arrested, most were executed. Modern scholarship treats much
of Livy's account with skepticism; more certainly, a Senatorial edict, the Senatus consultum de Bacchanalibus was distributed
throughout Roman and allied Italy. It banned the former Bacchic cult organisations. Each meeting must seek prior senatorial approval
through a praetor. No more than three women and two men were allowed at any one meeting, Those who defied the edict risked the
death penalty.

Bacchus was conscripted into the official Roman pantheon as an aspect of Liber, and his festival was inserted into the Liberalia. In
Roman culture, Liber, Bacchus and Dionysus became virtually interchangeable equivalents. Bacchus was euhemerised as a
wandering hero, conqueror and founder of cities. He was a patron deity and founding hero at Leptis Magna, birthplace of the emperor
Septimius Severus, who promoted his cult. In some Roman sources, the ritual procession of Bacchus in a tiger-drawn chariot,
surrounded by maenads, satyrs and drunks, commemorates the god's triumphant return from the conquest of India. Pliny believed this
to be the historical prototype for theRoman Triumph.[53]

In the arts

Classical art
The god, and still more often his followers, were commonly depicted in the painted
pottery of Ancient Greece, much of which was vessels for wine. But, apart from
some reliefs of maenads, Dionysian subjects rarely appeared in large sculpture
before the Hellenistic period, when they became common.[54] In these, the treatment
of the god himself ranged from severe archaising or Neo Attic types such as the
Dionysus Sardanapalusto types showing him as an indolent and androgynous young
man, often nude.[55] Hermes and the Infant Dionysus is probably a Greek original in
marble, and the Ludovisi Dionysus group is probably a Roman original of the 2nd
century AD. Well-known Hellenistic sculptures of Dionysian subjects, surviving in
Roman copies, include the Barberini Faun, the Belvedere Torso, the Resting Satyr.
The Furietti Centaurs and Sleeping Hermaphroditus reflect related subjects, which
had by this time become drawn into the Dionysian orbit.[56] The marble Dancer of
Pergamon is an original, as is the bronzeDancing Satyr of Mazara del Vallo, a recent
recovery from the sea.

The Dionysian world by the Hellenistic period is a hedonistic but safe pastoral into Marble table support adorned by a
group including Dionysos, Pan and a
which other semi-divine creatures of the countryside such as centaurs, nymphs, and
Satyr; Dionysos holds a rhyton
the god Pan and Hermaphrodite have been co-opted.[57] Nymphs by this stage (drinking vessel) in the shape of a
"means simply an ideal female of the Dionysian outdoors, a non-wild bacchant".[58] panther; traces of red and yellow
Hellenistic sculpture also includes for the first time large genre subjects of children colour are preserved on the hair of
and peasant, many of whom carry Dionysian attributes such as ivy wreaths, and the figures and the branches; from
"most should be seen as part of his realm. They have in common with satyrs and an Asia Minor workshop, 170-180
AD, National Archaeological
nymphs that they are creatures of the outdoors and are without true personal
Museum, Athens, Greece
identity."[59] The 4th-century BC Derveni Krater, the unique survival of a very large
scale Classical or Hellenistic metal vessel of top quality, depicts Dionysus and his
followers.

Dionysus appealed to the Hellenistic monarchies for a number of reasons, apart from merely being a god of pleasure: He was a
human who became divine, he came from, and had conquered, the East, exemplified a lifestyle of display and magnificence with his
.[60] He continued to appeal to the rich of Imperial Rome, who populated their
mortal followers, and was often regarded as an ancestor
gardens with Dionysian sculpture, and by the 2nd century AD were often buried in sarcophagi carved with crowded scenes of
Bacchus and his entourage.[61]

The 4th-century AD Lycurgus Cup in the British Museum is a spectacular cage cup which changes colour when light comes through
the glass; it shows the bound King Lycurgus being taunted by the god and attacked by a satyr; this may have been used for
celebration of Dionysian mysteries. Elizabeth Kessler has theorized that a mosaic appearing on the triclinium floor of the House of
Aion in Nea Paphos, Cyprus, details a monotheistic worship of Dionysus.[62] In the mosaic, other gods appear but may only be lesser
representations of the centrally imposed Dionysus. The mid-Byzantine Veroli Casket shows the tradition lingering in Constantinople
around 1000 AD, but probably not very well understood.

Art from the Renaissance on

Bacchic subjects in art resumed in the Italian Renaissance, and soon became almost as
popular as in antiquity, but his "strong association with feminine spirituality and power
almost disappeared", as did "the idea that the destructive and creative powers of the god
were indissolubly linked".[63] In Michelangelo's statue (149697) "madness has become
merriment". The statue aspires to suggest both drunken incapacity and an elevated
consciousness, but this was perhaps lost on later viewers, and typically the two aspects
were thereafter split, with a clearly drunk Silenus representing the former
, and a youthful
[64]
Bacchus often shown with wings, because he carries the mind to higher places.

Titian's Bacchus and Ariadne (152223) and The Bacchanal of the Andrians (1523-26),
both painted for the same room, offer an influential heroic pastoral,[65] while Diego
Velzquez in The Triumph of Bacchus (or Los borrachos - "the drinkers", c. 1629) and
Jusepe de Ribera in his Drunken Silenus choose a genre realism. Flemish Baroque
painting frequently painted the Bacchic followers, as in V
an Dyck's Drunken Silenus and
many works by Rubens; Poussin was another regular painter of Bacchic scenes.[66]
Depictions of the proverbSine Cerere et Baccho friget Venus were a particular feature of
Northern Mannerism, but the subject was also painted several times by Rubens. Because
of his association with the vine harvest, Bacchus became the god of autumn, and he and Bacchus by Michelangelo (1497)
[67]
his followers were often shown in sets depicting the seasons.

Modern literature and philosophy

Dionysus has remained an inspiration to artists, philosophers and writers into the
modern era. In The Birth of Tragedy (1872), the German philosopher Friedrich
Nietzsche proposed that a tension between Apollonian and Dionysian aesthetic
principles underlay the development of Greek tragedy; Dionysus represented what
was unrestrained chaotic and irrational, while Apollo represented the rational and
ordered. Nietzsche claimed that the oldest forms of Greek Tragedy were entirely
based on suffering of Dionysus. In Nietzsche's 1886 work Beyond Good and Evil, The Triumph of Bacchus, Diego
and later works The Twilight of the Idols, The Antichrist and Ecce Homo, Dionysus Velzquez, c. 1629
is conceived as the embodiment of the unrestrainedwill to power.

In The Hellenic Religion of the Suffering God (1904), and Dionysus and Early Dionysianism (1921), the poet Vyacheslav Ivanov
elaborates the theory of Dionysianism, tracing the origins of literature, and tragedy in particular, to ancient Dionysian mysteries.
Kroly Kernyi characterizes Dionysus as representative of the psychological life force (Greek Zo).[68] Other psychological
interpretations place Dionysus' emotionality in the foreground, focusing on the joy, terror or hysteria associated with the
god.[69][70][71][72][73] Sigmund Freud specified that his ashes should be kept in an Ancient Greek vase painted with Dionysian scenes
from his collection, which remains on display atGolders Green Crematoriumin London.
In CS Lewis' Prince Caspian (part of The Chronicles
of Narnia), Bacchus is a dangerous-looking,
androgynous young boy who helps Aslan awaken the
spirits of the Narnian trees and rivers. Rick Riordan's
series of books Percy Jackson & The Olympians
presents Dionysus as an uncaring, childish and
spoiled god. In the novel Household Gods by Harry
Turtledove and Judith Tarr, Nicole Gunther-Perrin is a
lawyer in the 20th century. She makes a libation to
Liber and Libera, Roman equivalents of Dionysus and
Persephone, and is transported back in time to ancient
Rome.[74][75] In The Secret History by Donna Tartt, a
The triumph of Bacchus by Cornelis de Vos.
group of classics students reflect on reviving the
worship of Dionysus during their time in college.[76]

Modern film and performance art

Walt Disney uses a modernised version of Silenus, Dionysus or Bacchus in the
"Pastoral" segment of the animated film Fantasia. In 1969, an adaption of The
Bacchae was performed, called Dionysus in '69. A film was made of the same
performance. The production was notable for involving audience participation,
nudity, and theatrical innovations.[77] In 1974, Stephen Sondheim and Burt
Shevelove adapted Aristophanes' comedy The Frogs into a modern musical, which
hit broadway in 2004 and was revived in London in 2017. The musical keeps the
descent of Dionysus into Hades to bring back a playwright, however the playwrights
are updated to modern times, and Dionysus is forced to choose between George
Bernard Shaw and William Shakespeare.[78]

Worship after Christianization of Europe

Bacchus by Paulus Bor.
Though the last known worshippers of Greek gods were converted before 1000 AD,
there were instances of revived worship of Dionysus afterwards, and finally with the
rise of neopaganism, worship of the god has once again been revived.

During Easter in 1282 in Scotland, the parish priest of Inverkeithing led young women in a dance in honor of Dionysus. He danced
and sang at the front, carrying a representation of the phallus on a pole. He was killed by a Christian mob later that year.[79] The late
[80]
medieval Byzantine scholarGemistus Pletho secretly advocated in favor of a return to paganism in medieval Greece.

In the 18th century, Hellfire Clubs sprung up in Britain and Ireland. Though activities varied between the clubs, some of them were
very pagan, and included shrines and sacrifices. Dionysus was one of the most popular deities, alongside deities like Venus and Flora.
Today one can still see the statue of Dionysus left behind in theHellfire Caves.[81]

In 1820, Ephraim Lyon founded the Church of Bacchus in Eastford, Connecticut. He declared himself High Priest, and added local
[82]
drunks to the list of membership. He maintained that those who died as members would go to a Bacchanalia for their afterlife.

Modern followers of Dionysus may offer the god wine, grapes, ivy, and various forms of incense. They may also celebrate Roman
festivals such as the Liberalia (March 17, close to the Spring Equinox) or Bacchanalia (Various dates), and various Greek festivals
.[83]
such as the Anthesteria, Lenaia, and the Greater and Lesser Dionysias, calculated by lunar calendar

Parallels with Christianity

Some authors have argued that similarities exist between
Dionysus and the traditional Christian portrayal of Jesus. The
earliest discussions of mythological parallels between Dionysus
and the figure of the Christ in Christian theology can be traced to
Friedrich Hlderlin, whose identification of Dionysus with Christ
is most explicit in Brod und Wein ('Bread and Wine', 18001801)
and Der Einzige (18011803).[84]

Theories regarding such parallels were popular in the 19th

century. Some modern scholars such as Martin Hengel, Barry
Powell, Robert M. Price, and Peter Wick argue that Dionysian
religion and Christianity have parallels. They point to the
symbolism of wine and the importance it held in the mythology
surrounding both Dionysus and Jesus Christ.[85][86] Wick,
however, argues that the use of wine symbolism in the Gospel of
John, including the story of the Marriage at Cana, at which Jesus
turns water into wine, is intended to show Jesus as superior to
Dionysus.[87]

Many sources reject the parallels between the cult of Dionysus

and Christ, asserting that the similarities are superficial, often
general and universal parallels found in many stories, both
historical and mythical, and that the symbolism represented by Sculpture excavated at theVilla of the Papyri depicting
the similar themes are radically different.[88][89][90][91] Dionysus, Plato, or possibly Poseidon

Death and Resurrection

Some scholars of comparative mythology identify both Dionysus and Jesus with the dying-and-returning god mythological
archetype.[13] On the other hand, it has been noted that the details of Dionysus' death and rebirth are starkly different both in content
and symbolism from Jesus. The two stories take place in very different historical and geographic contexts. Also, the manner of death
is different; in the most common myth, Dionysus was torn to pieces and eaten by the titans, but "eventually restored to a new life"
from the heart that was left over.[92][88]

The Trial
Another parallel can be seen in The Bacchae where Dionysus appears before King Pentheus on charges of claiming divinity, which is
compared to the New Testament scene of Jesus being interrogated by Pontius Pilate.[87][93][94] However, a number of scholars
dispute this parallel, since the confrontation between Dionysus and Pentheus ends with Pentheus dying, torn into pieces by the mad
women, whereas the trial of Jesus ends with him being sentenced to death. The discrepancies between the two stories, including their
resolutions, have led many scholars to regard the Dionysus story as radically different from the one about Jesus, except for the
[95]
parallel of the arrest, which is a detail that appears in many biographies as well.

Sacred Food and Drink

Other elements, such as the celebration by a ritual meal of bread and wine, also have parallels.[93] The omophagia was the Dionysian
act of eating raw flesh and drinking wine to consume the god. Within Orphism, it was believed that consuming the meat and wine
was symbolic of the Titans eating the flesh (meat) and blood (wine) of Dionysus and that, by participating in the omophagia,
Dionysus' followers could achieve communion with the god. Powell, in particular, argues that precursors to the Catholic notion of
transubstantiation can be found in Dionysian religion.[93]
Other parallels
E. Kessler has argued that the Dionysian cult developed into strict monotheism by the 4th century AD; together with Mithraism and
other sects, the cult formed an instance of "pagan monotheism" in direct competition with Early Christianity during Late
Antiquity.[96] Scholars from the 16th century onwards, especially Gerard Vossius, also discussed the parallels between the
biographies of Dionysus/Bacchus and Moses (Vossius named his sons Dionysius and Isaac). Such comparisons surface in details of
paintings by Poussin.[97]

Names

Etymology
The dio- element has been associated since antiquity with Zeus (genitive Dios). The
earliest attested form of the name is Mycenaean Greek , di-wo-nu-so, written
in Linear B syllabic script, presumably for /Diwo(h)nsoio/. This is attested on two
tablets that had been found at Mycenaean Pylos and dated to the 12th or 13th
century BC, but at the time, there could be no certainty on whether this was indeed a
theonym.[98][99] But the 198990 Greek-Swedish Excavations at Kastelli Hill,
Chania, unearthed, inter alia, four artefacts bearing Linear B inscriptions; among
them, the inscription on item KH Gq 5 is thought to confirm Dionysus's early
worship.[7]

Later variants include Dionsos and Dinsos in Boeotia; Dien(n)sos in Thessaly;

Deonsos and Deunsos in Ionia; and Dinnsos in Aeolia, besides other variants. A
Dio- prefix is found in other names, such as that of the Dioscures, and may derive
from Dios, the genitive of the name of Zeus.[100] The second element -nsos is
associated with MountNysa, the birthplace of the god in Greek mythology
, where he
was nursed by nymphs (the Nysiads),[101] but according to Pherecydes of Syros,
nsa was an archaic word for "tree".[102]
Terracotta vase in the shape of
Nonnus, in his Dionysiaca, writes that the name Dionysus means "Zeus-limp" and Dionysus' head, ca. 410 BC; on
display in the Ancient Agora Museum
that Hermes named the new born Dionysus this, "because Zeus while he carried his
in Athens, housed in the Stoa of
burden lifted one foot with a limp from the weight of his thigh, and nysos in Attalus
Syracusan langugage means limping".[103] In his note to these lines, W. H. D. Rouse
writes "It need hardly be said that these etymologies are wrong".[103] The Suda, a
Byzantine encyclopedia based on classical sources, states that Dionysus was so named "from accomplishing [ ] for each of
] everything for those who live the wild life.[104]
those who live the wild life. Or from providing [

R. S. P. Beekes has suggested a Pre-Greek origin of the name.[105]

The cult of Dionysus was closely associated with trees, specifically the fig tree, and some of his bynames exhibit this, such as
Endendros "he in the tree" or Dendrits, "he of the tree". Peters suggests the original meaning as "he who runs among the trees", or
that of a "runner in the woods". Janda (2010) accepts the etymology but proposes the more cosmological interpretation of "he who
impels the (world-)tree". This interpretation explains how Nysa could have been re-interpreted from a meaning of "tree" to the name
of a mountain: the axis mundi of Indo-European mythologyis represented both as aworld-tree and as a world-mountain.[106]

Epithets
Dionysus was variably known with the followingepithets:

Acratophorus, ("giver of unmixed wine"), atPhigaleia in Arcadia.[107]

Acroreites at Sicyon.[108]

Adoneus, a rare archaism in Roman literature, a Latinised form of Adonis, used as

epithet for Bacchus.[109]

Aegobolus ("goat killer") at Potniae, inBoeotia.[110]

Aesymnetes ("ruler" or "lord") at Aro andPatrae in Achaea.

Agrios ("wild"), in Macedonia.

Briseus ("he who prevails") inSmyrna.[111][112]

Bromios ("Roaring" as of the wind, primarily relating to the central

death/resurrection element of the myth,[113] but also the god's transformations into
lion and bull,[114] and the boisterousness of those who drink alcohol. Also cognate
with the "roar of thunder", which refers to Dionysus' father
, Zeus "the thunderer".)

Choiropsalas ("pig-plucker": Greek = "pig," also used as a slang

The over-life size 2nd-century AD
term for the female genitalia). A reference to Dionysus's role as a fertility Ludovisi Dionysus, with panther,
deity.[115][116] satyr and grapes on a vine,Palazzo
Altemps, Rome
Chthonios ("the subterranean")[117]

Dendrites ("he of the trees"), as a fertility god.

Dithyrambos, used at his festivals, referring to his premature birth.

Eleutherios ("the liberator"), an epithet shared withEros.

Endendros ("he in the tree").[118]

Enorches ("with balls,"[119] with reference to his fertility, or "in the testicles" in
reference to Zeus' sewing the baby Dionysus "into his thigh", understood to mean his
testicles).[120] used in Samos and Lesbos. Epiphany of Dionysus mosaic, from
the Villa of Dionysus (2nd century
Erikryptos ("completely hidden"), in Macedonia. AD) in Dion, Greece, Archeological
Museum of Dion
Euius (Euios), in Euripides' play, The Bacchae.

Iacchus, a possible epithet of Dionysus, associated with the Eleusinian Mysteries. In

Eleusis, he is known as a son of Zeus and Demeter. The name "Iacchus" may come
from the (Iakchos), a hymn sung in honor of Dionysus.

Liknites ("he of the winnowing fan"), as a fertility god connected with mystery
religions. A winnowing fan was used to separate the chaff from the grain.

Lyaeus, or Lyaios (, "deliverer", literally "loosener"), one who releases from

care and anxiety.[121]
A Roman fresco depicting Bacchus
Melanaigis ("of the black goatskin") at theApaturia festival.
with red hair, Boscoreale, c. 30 BC
Morychus (, "smeared") in Sicily, because his icon was smeared with wine
lees at the vintage.[122][123]

Oeneus, as god of the wine press.

Pseudanor (literally "false man", referring to his feminine qualities), inMacedonia.

In the Greek pantheon, Dionysus (along with Zeus) absorbs the role of Sabazios, a Thracian/Phrygian deity. In the Roman pantheon,
[124]
Sabazius became an alternative name for Bacchus.

Genealogy

Gallery

Bacchus and the Choir of Statue of Dionysus Drinking Bacchus (1623) Statue of Dionysus in
Nymphs (1888) (Sardanapalus) (Museo Guido Reni Remich Luxembourg
by John Reinhard Palazzo Massimo Alle
Weguelin Terme, Rome)

A Bacchus themed table. Bacchus - Hendrick Dionysian amphora Dionysian jug

The top was made in Goltzius (1592).
Florence (c. 1736) and
the gilded wood base in
Britain or Ireland, c.
17361740.

See also
Apollonian and Dionysian
Ascolia
Bacchanalia
Dionysian Mysteries
Orgia
Theatre of Dionysus

Notes
1. Another variant, from the Spanish royal collection, is at theMuseo del Prado, Madrid: illustration.
 2. Hedreen, Guy Michael.Silens in Attic Black-figure Vase-painting: Myth and Performance. University of Michigan
Press. 1992. ISBN 9780472102952. page 1
3. James, Edwin Oliver. The Tree of Life: An Archaeological Study. Brill Publications. 1966. page 234.
ISBN 9789004016125
4. Gately, Iain (2008). Drink. Gotham Books. p. 11.ISBN 978-1-592-40464-3.
5. Ferguson, Everett (2003).Backgrounds of Early Christianity(https://books.google.com/books?id=3tuKkxU4-ncC&pg
=PA162&lpg=PA162&dq=dionysus+firmly+bc&source=bl&ots=HYC50R WJIp&sig=EufCEtCBtUcKIZ-l1WON8qJ7eEY
&hl=en&sa=X&ved=0ahUKEwjXkK_30o_V AhUTOsAKHbBnD0AQ6AEIKDAA#v=onepage&q=dionysus%20firmly%2
0bc&f=false). Wm. B. Eerdmans Publishing.ISBN 9780802822215.
6. He appears as a likely theonym (divine name) inLinear B tablets as di-wo-nu-so (KH Gq 5 inscription)
7. Raymoure, K.A. (November 2, 2012)."Khania Linear B Transliterations" (http://minoan.deaditerranean.com/2012/11/
02/khania-linear-b-transliterations/). Minoan Linear A & Mycenaean Linear B. Deaditerranean. "Possible evidence of
human sacrifice at Minoan Chania"(http://archaeologynewsnetwork.blogspot.gr/2014/01/possible-evidence-of-huma
n-sacrifice-at.html). Archaeology News Network. 2014. Check date values in: |date= (help) Raymoure, K.A.
"Khania KH Gq Linear B Series"(http://minoan.deaditerranean.com/linear-b-transliterations/khania/kh-gq/). Minoan
Linear A & Mycenaean Linear B. Deaditerranean. "KH 5 Gq (1)" (https://www2.hf.uio.no/damos/Index/item/chosen_it
em_id/5670). DMOS: Database of Mycenaean at Oslo. University of Oslo.
8. Kerenyi 1976.
9. Thomas McEvilley, The Shape of Ancient Thought, Allsworth press, 2002, pp. 118121.Google Books preview(http
s://books.google.com/books?id=vTfm8KHn900C&pg=P A118)
10. Reginald Pepys Winnington-Ingram,Sophocles: an interpretation, Cambridge University Press, 1980, p.109Google
Books preview (https://books.google.com/books?id=OPo8nVmC9LQC&pg=P A109)
11. Zofia H. Archibald, in Gocha R. Tsetskhladze (Ed.) Ancient Greeks west and east, Brill, 1999, p.429 f .Google Books
preview (https://books.google.com/books?id=ctsUcNshh68C&pg=P A432)
12. Sacks, David; Murray, Oswyn; Brody, Lisa R. (2009-01-01).Encyclopedia of the Ancient Greek World(https://books.
google.com/books?id=yyrao0dadqAC). Infobase Publishing. ISBN 9781438110202. Retrieved 20 April 2013.
13. Burkert, Walter, Greek Religion, 1985 pp. 64, 132
14. Otto, Walter F. (1995). Dionysus Myth and Cult. Indiana University Press.ISBN 0-253-20891-2.
15. Gods of Love and Ecstasy, Alain Danielou p.15
16. In Greek "both votary and god are called Bacchus". Burkert,Greek Religion 1985:162. For the initiate as Bacchus,
see Euripides, Bacchantes 491. For the god, who alone isDionysus, see Sophocles, Oedipus Rex 211 and
Euripides, Hippolytus 560.
17. Sutton, p.2, mentions Dionysus as The Liberator in relation to the cityDionysia festivals. In Euripides,Bacchae 379
385: "He holds this office, to join in dances, [380] to laugh with the flute, and to bring an end to cares, whenever the
delight of the grape comes at the feasts of the gods, and in ivy-bearing banquets the goblet sheds sleep over men."
[1] (http://www.perseus.tufts.edu/cgi-bin/ptext?lookup=Eur.+Ba.+370)
18. Xavier Riu, Dionysism and Comedy(https://books.google.com/books?id=wob1UszzkZwC&lpg=PR7)
, Rowman and
Littlefield, 1999, p.105
19. Diorodus V 75.4, noted byKarl Kernyi, Dionysos: Archetypal Image of Indestructible Life(Princeton University
Press) 1976, "The Cretan core of the Dionysos myth" p 110 note 213 and pp 110-114.
20. Diodorus III 64.1, also noted by Kerny (110 note 214.)
21. Damascius, Commentary on the Phaedo, I, 170, see in translation W
esterink, The Greek Commentaries onPlato's
Phaedo, vol. II (The Prometheus Trust, Westbury) 2009
22. Damascius, Commentary on the Phaedo, I, 1-13 and 165-172, see in translation Westerink, The Greek
Commentaries on Plato's Phaedo, vol. II, The Prometheus rTust, Westbury, 2009
23. "Sarcophagus Depicting the Birth of Dionysus"(http://art.thewalters.org/detail/16574). The Walters Art Museum.
24. Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes.
Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Includes Frazer's notes. ISBN 0-
674-99135-4, ISBN 0-674-99136-2
25. Bull, 255
26. Arrian, Anabasis, 5.1.1-2.2
27. Bull, 253
28. "Theoi.com" Homeric Hymn to Dionysus"(http://www.theoi.com/Olympios/DionysosWrath.html#Tyrrhenian).
Theoi.com. Retrieved 2014-06-29.
29. Bull, 245-247, 247 quoted
30. Euripides. The Bacchae. https://records.viu.ca/~johnstoi/euripides/euripides.htm
. (original Greek text available at
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0091)
31. "British Museum - The Lycurgus Cup" (https://www.britishmuseum.org/explore/highlights/highlight_objects/pe_mla/t/t
he_lycurgus_cup.aspx). britishmuseum.org.
32. Clement of Alexandria,Protreptikos, II-30 3-5
33. Arnobius, Against the Gentiles 5.28 (Dalby 2005, pp. 108117)
34. Ovid, Fasti, iii. 407 ff. (James G. Frazer, translator).
35. Nonnus, Dionysiaca, x. 175430; xi, xii. 1117 (Dalby 2005, pp. 5562).
36. Photius, Library; "Ptolemy Chennus, New History"
37. Hesychius of Alexandrias. v. Pripidos
38. Scholia on Theocritus, Idyll 1. 21
39. Strabo, Geography, 10.3.13, quotes the non-extant playPalamedes which seems to refer to Thysa, a daughter of
Dionysus, and her (?) mother as participants of the Bacchic rites on Mount Ida, but the quoted passage is corrupt.
40. Pseudo-Apollodorus, Bibliotheca Library and Epitome, 1.3.2 (http://www.perseus.tufts.edu/cgi-bin/ptext?lookup=Apoll
od.+1.3.2). "Orpheus also invented the mysteries of Dionysus, and having been torn in pieces by the Maenads he is
buried in Pieria."
41. James Charlesworth (2010).The Good And Evil Serpent: How a Universal Symbol Became Christianized
(https://bo
oks.google.com/books?id=cJlmWuXCCecC&pg=PA222). Yale University Press. pp. 222223.ISBN 978-0-300-
14273-0.
42. Walter Friedrich Otto; Robert B. Palmer (1965). Dionysus: Myth and Cult(https://books.google.com/books?id=XCDv
uoZ8IzsC&pg=PA164). Indiana University Press. pp. 164166.ISBN 0-253-20891-2.
43. Leo Steinberg (2014). The Sexuality of Christ in Renaissance Art and in Modern Oblivion(https://books.google.com/
books?id=V5DeBQAAQBAJ). University of Chicago Press. pp. 47, 83 with footnotes.ISBN 978-0-226-22631-6.
44. Jennifer R. March (2014).Dictionary of Classical Mythology(https://books.google.com/books?id=v5jwAwAAQBAJ).
Oxbow. pp. 164, 296. ISBN 978-1-78297-635-6.
45. Csapo, Eric (1997). "Riding the Phallus for Dionysus: Iconology
, Ritual, and Gender-Role De/Construction".Phoenix.
51 (3/4): 256257, 253295.doi:10.2307/1192539 (https://doi.org/10.2307%2F1192539).
46. Dietrich, B. C. (1958). "Dionysus Liknites" (https://dx.doi.org/10.1017/S000983880002190X)
. The Classical
Quarterly. Cambridge University Press.8 (3-4): 244248. Retrieved 2016-09-27.
47. Norman C. McClelland (2010).Encyclopedia of Reincarnation and Karma(https://books.google.com/books?id=S_Le
q4U5ihkC). McFarland. pp. 7677.ISBN 978-0-7864-5675-8.
48. "British Museum - statue"(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?
objectId=460422&partId=1&people=130287&peoA=130287-3-17&page=1) . British Museum.
49. Russell, Bertrand. History of Western Philosophy.Routledge, 1996, p. 25
50. Kraemer, Ross S. "Ecstasy and Possession:The Attraction of Women to the Cult of Dionysus." The Harvard
Theological Review, Vol. 72 60 Jan.-Apr. 1979.
51. ..."the Bacchic passages in the Roman drama, taken over from their Greek models, presented a pejorative image of
the Bacchic cult which predisposed the Romans towards persecution before the consul denounced the cult in 186."
Robert Rouselle, Liber-Dionysus in Early Roman Drama,The Classical Journal, 82, 3 (1987), p. 193.
52. "Certainly it is hard to imagine anything less consistent with Romanmos maiorum than the anarchic hedonism of
satyrs. It was precisely libido, that morally subversive aspect of the Bacchic cult, that led to its brutal suppression..."
Wiseman, T.P., "Satyrs in Rome? The Background toHorace's Ars Poetica," Journal of Roman Studies, 1988, p. 1.
[2] (http://www.jstor.org/pss/301447) (accessed November 19, 2017)
53. Pliny attributes the invention of the triumph to "FatherLiber" (who by Pliny's time was identified with Bacchus and
Dionysus): see Pliny, Historia Naturalis, 7.57 (ed. Bostock) at Perseus:Tufts.edu (http://www.perseus.tufts.edu/cgi-bi
n/ptext?doc=Perseus%3Atext%3A1999.02.0137&layout=&loc=7.57)
54. Smith, 127129
55. as in the Dionysus and Eros, Naples Archeological Museum
56. Smith, 127154
57. Smith, 127, 131, 133
58. Smith, 130
59. Smith, 136
60. Smith, 127
61. Smith, 128
62. Kessler, E., Dionysian Monotheism in Nea Paphos, Cyprus,
63. Bull, 227-228, both quoted
64. Bull, 228-232, 228 quoted
65. Bull, 235-238, 242, 247-250
66. Bull, 233-235
67. Bull, 255-256
68. Kerenyi, K., Dionysus: Archetypal Image of Indestructible Life(Princeton/Bollingen, 1976).
69. Jeanmaire, H. Dionysus: histoire du culte de Bacchus, (p.106f
f) Payot, (1951)
70. Johnson, R. A. 'Ecstasy; Understanding the Psychology of Joy' HarperColling (1987)
71. Hillman, J. 'Dionysus Reimagined' in The Myth of Analysis (pp.271-281) HarperCollins (1972); Hillman, J. 'Dionysus
in Jung's Writings' in Facing The Gods, Spring Publications (1980)
72. Thompson, J. 'Emotional Intelligence/Imaginal Intelligence'(http://www.mythopoetry.com/mythopoetics/scholar09_th
ompson.html) in Mythopoetry Scholar Journal, Vol 1, 2010
73. Lopez-Pedraza, R. 'Dionysus in Exile: On the Repression of the Body and Emotion', Chiron Publications (2000)
74. Johnson, Sarah. "Household Gods" (https://historicalnovelsociety.org/reviews/household-gods/). Historical Novel
Soceity. Historical Novel Soceity. Retrieved 2 August 2017.
75. Horton, Rich. "Household Gods" (https://www.sfsite.com/11b/hous69.htm). SF Site. SF Site. Retrieved 2 August
2017.
76. Kakutani, Michiko. "Books of The Times; Students Indulging In Course of Destruction" (http://www.nytimes.com/199
2/09/04/books/books-of-the-times-students-indulging-in-course-of-destruction.html)
. The New York Times. The New
York Times. Retrieved 3 November 2017.
77. Greenspun, Roger (March 23, 1970)."Screen::De Palma's 'Dionysus in 69'" (https://www.nytimes.com/movie/revie
w?res=9E01E2D81638EE34BC4B51DFB566838B669EDE) . New York Times. Retrieved 1 August 2017.
78. Murray, Matthew. "The Frogs" (http://www.talkinbroadway.com/page/world/Frogs.html). Talkin' Broadway. Talkin'
Broadway. Retrieved 2 August 2017.
79. Maxwell, Herbert (1913).The Chronicle of Lanercost, 1272-1346. Glasgow, Scotland: Glasgow : J. Maclehose.
pp. 2930.
80. Clogg, Richard (Jan 2005). "Woodhouse, Christopher Montague, fifth Baron Terrington (19172001)".Oxford
Dictionary of National Biography. Oxford, England: Oxford University Press.ISBN 978-0199671540.
81. Ashe, Geoffrey (2000). The Hell-Fire Clubs: A History of Anti-Morality
. Gloucestershire: Sutton Publishing. p. 114.
82. Bayles, Richard (1889).History of Windham County, Connecticut.
83. "Dionysus" (http://www.neokoroi.org/religion/gods/dionysus/). Neokoroi.org. Neokoroi. Retrieved 3 August 2017.
84. The mid-19th-century debates are traced in G.S. Williamson,The Longing for Myth in Germany, 2004.
85. Pausanias, Description of Greece 6. 26. 1-2
86. Athenaeus, Deipnosophistae 2. 34a
87. Wick, Peter (2004). "Jesus gegen Dionysos? Ein Beitrag zur Kontextualisierung des Johannesevangeliums" (http://w
ww.bsw.org/?l=71851&a=Comm06.html). Biblica. Rome: Pontifical Biblical Institute. 85 (2): 179198. Retrieved
2007-10-10.
88. Evans, Arthur. The God of Ecstasy. New York: St. Martins' Press, 1989
89. Heinrichs, Albert. "He Has a God in Him": Human and Divine in the Modern Perception of Dionysus."
90. Sandmel, S (1962). "Parallelomania". Journal of Biblical Literature 81 (1): 113.
91. Gerald O'Collins, "The Hidden Story of Jesus" New Blackfriars oVlume 89, Issue 1024, pages 710714, November
2008
 92. Detienne, Marcel. Dionysus Slain. Baltimore: Johns Hopkins, 1979.
93. Powell, Barry B., Classical Myth. Second ed. With new translations of ancient texts by Herbert M. Howe. Upper
Saddle River, New Jersey: Prentice-Hall, Inc., 1998.
94. Studies in Early Christology(https://books.google.com/books?id=0fLPOx1B-A
wC&pg=PA331), by Martin Hengel,
2005, p. 331 (ISBN 0567042804).
95. Dalby, Andrew (2005). The Story of Bacchus. London: British Museum Press.
96. E. Kessler, Dionysian Monotheism in Nea Paphos, Cyprus . Symposium on Pagan Monotheism in the Roman
Empire, Exeter, 1720 July 2006 Abstract (http://www.huss.ex.ac.uk/classics/conferences/pagan_monotheism/abstra
cts.html) Archived (https://web.archive.org/web/20080421032154/http://www .huss.ex.ac.uk/classics/conferences/pag
an_monotheism/abstracts.html)2008-04-21 at the Wayback Machine.)
97. Bull, 240-241
98. John Chadwick, The Mycenaean World, Cambridge University Press, 1976, 99ff: "But Dionysos surprisingly appears
twice at Pylos, in the formDiwonusos, both times irritatingly enough on fragments, so that we have no means of
verifying his divinity."
99. "The Linear B word di-wo-nu-so"(http://www.palaeolexicon.com/default.aspx?static=12&wid=346747).
Palaeolexicon. Word study tool of ancient languages.
100. This is the view of Garcia Ramon (1987) and Peters (1989), summarised and endorsed in Janda (2010:20).
101. Fox, p. 217, "The word Dionysos is divisible into two parts, the first originally (cf. ), while the second is of
an unknown signification, although perhaps connected with the name of the Mount Nysa which figures in the story of
Lykourgos: (...) when Dionysos had been reborn from the thigh of Zeus, Hermes entrusted him to the nymphs of
Mount Nysa, who fed him on the food of the gods, and made him immortal."
102. Testimonia of Pherecydes in an early 5th-century BC fragment, FGrH 3, 178, in the context of a discussion on the
name of Dionysus: "Nsas (acc. pl.), he [Pherecydes] said, was what they called the trees."
103. Nonnus, Dionysiaca 9.2024 (https://archive.org/stream/dionysiaca01nonnuoft#page/304/mode/2up)
.
104. Suda s.v. (http://www.stoa.org/sol-bin/search.pl?db=REAL&search_method=QUERY&login=guest&enlogin
=guest&user_list=LIST&page_num=1&searchstr=delta,1185&field=adlerhw_gr&num_per_page=1) .
105. R. S. P. Beekes, Etymological Dictionary of Greek, Brill, 2009, p. 337.
106. see Janda (2010), 16-44 for a detailed account.
107. Pausanias, 8.39.6.
108. Stephanus of Byzantium, s.v.
109. Used thus by Ausonius, Epigrams, 29, 6, and in Catullus, 29; see Lee M. Fratantuono, NIVALES SOCII: CAESAR,
MAMURRA, AND THE SNOW OF CATULLUS C. 57, Quaderni Urbinati di Cultura Classica, New Series,Vol. 96,
No. 3 (2010), p. 107, Note 2.
110. Aego'bolus entry in William Smith,A Dictionary of Greek and Roman biography and mythology , London, John
Murray, 1848, citing Pausanias, ix. 8. 1. Online at perseus.tufts.edu(http://www.perseus.tufts.edu/hopper/text?doc
=Perseus%3Atext%3A1999.04.0104%3Aalphabetic+letter%3DA%3Aentry+group%3D6%3Aentry%3Daegobolus-bio
-1) (accessed 15 February 2017)
111. Aristid.Or.41
112. Macr.Sat.I.18.9
113. For a parallel see pneuma/psuche/anima The core meaning is wind as "breath/spirit"
114. Bulls in antiquity were said to roar.
115. McKeown, J.C. A Cabinet of Greek Curiosities: Strange T ales and Surprising Facts from the Cradle of Western
Civilization, Oxford University Press, New York, 2013, p. 210)
116. Clement of Alexandria, Exhortation to the Greeks, 92: 82-83, Loeb Classical Library r(egistration required (http://ww
w.loebclassics.com/view/clement_alexandria-exhortation_greeks/1919/pb_LCL092.83.xml) : accessed 17 December
2016)
117. Kerenyi, C. (1967). Eleusis: Archetypal Image of Mother and Daughter
. Princeton University Press.ISBN 0-691-
01915-0; Kerenyi 1976). Dionysos: Archetypal Image of Indestructible Life. Princeton University Press.
118. Janda (2010), 16-44.
119. Kerenyi 1976:286.
120. Jameson 1993, 53. Cf.n16 for suggestions of Devereux on "Enorkhes,"
121. http://www.perseus.tufts.edu/hopper/morph?
l=%CE%BB%CF%85%CE%B1%CE%B9%CE%BF%CF%82&la=greek#lexicon
Liddell-Scott-Jones Greek-English
Lexicon
122. Liddell-Scott-Jones Greek-English Lexicon(http://www.perseus.tufts.edu/hopper/morph?l=%CE%BC%CE%BF%C
F%81%CF%85%CF%87%CE%BF%CF%82&la=greek#lexicon)
123. Mentioned by Erasmus in The Praise of Folly (http://www.gutenberg.org/files/9371/9371-h/9371-h.htm)
124. Rosemarie Taylor-Perry, The God Who Comes: Dionysian Mysteries Revisited. Algora Pre
ss 2003, p.89, cf.
Sabazius.
125. According to Homer, Aphrodite was the daughter of Zeus I(liad 3.374 (http://data.perseus.org/citations/urn:cts:greekL
it:tlg0012.tlg001.perseus-eng1:3.374), 20.105 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg001.perse
us-eng1:20.105); Odyssey 8.308 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg002.perseus-eng1:8.30
8), 320 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg002.perseus-eng1:8.320)
) and Dione (Iliad
5.37071 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg001.perseus-eng1:5.370) ), see Gantz, pp. 99
100.
126. According to Homer, Iliad 1.570579 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg001.perseus-eng1:
1.570), 14.338 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg001.perseus-eng1:14.338)
, Odyssey
8.312 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg002.perseus-eng1:8.312), Hephaestus was
apparently the son of Hera and Zeus, see Gantz, p. 74.
127. According to Hesiod's Theogony 886890 (http://www.perseus.tufts.edu/hopper/text?doc=Hes.+Th.+886), of Zeus'
children by his seven wives, Athena was the first to be conceived, but the last to be born; Zeus impregnated Metis
then swallowed her, later Zeus himself gave birth to Athena "from his head", see Gantz, pp. 5152, 8384.
128. According to Hesiod, Theogony 183200 (http://www.perseus.tufts.edu/hopper/text?doc=Hes.+Th.+183), Aphrodite
was born from Uranus' severed genitals, see Gantz, pp. 99100.
129. According to Hesiod, Theogony 927929 (http://www.perseus.tufts.edu/hopper/text?doc=Hes.+Th.+927),
Hephaestus was produced by Hera alone, with no father
, see Gantz, p. 74.

References
Bull, Malcolm, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods
, Oxford UP, 2005,
ISBN 9780195219234
Dalby, Andrew (2005). The Story of Bacchus. London: British Museum Press.ISBN 0-7141-2255-6.
Farnell, Lewis Richard,The Cults of the Greek States, 1896. Volume V, cf. Chapter IV, "Cults of Dionysos"; Chapter
V, "Dionysiac Ritual"; Chapter VI, "Cult-Monuments of Dionysos"; Chapter VII, "Ideal Dionysiac yTpes".
Fox, William Sherwood,The Mythology of All Races, v.1, Greek and Roman, 1916, General editor, Louis Herbert
Gray.
Gantz, Timothy, Early Greek Myth: A Guide to Literary and Artistic Sources
, Johns Hopkins University Press, 1996,
two volumes: ISBN 978-0-8018-5360-9 (Vol. 1), ISBN 978-0-8018-5362-3 (Vol. 2).
Hesiod, Theogony, in The Homeric Hymns and Homerica with an English rTanslation by Hugh G. Evelyn-White,
Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914.Online version at the Perseus
Digital Library.
Homer, The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. Cambridge, MA., Harvard
University Press; London, William Heinemann, Ltd. 1924.Online version at the Perseus Digital Library.
Homer; The Odyssey with an English Translation by A.T. Murray, PH.D. in two volumes. Cambridge, MA., Harvard
University Press; London, William Heinemann, Ltd. 1919.Online version at the Perseus Digital Library.
Janda, Michael, Die Musik nach dem Chaos, Innsbruck 2010.
Jameson, Michael. "The Asexuality of Dionysus."Masks of Dionysus. Ed. Thomas H. Carpenter and Christopher A.
Faraone. Ithaca: Cornell UP, 1993. ISBN 0-8014-8062-0. 44-64.
Kernyi, Karl, Dionysos: Archetypal Image of Indestructible Life
, (Princeton: Bollingen) 1976.
Nonnus, Dionysiaca; translated by Rouse, W H D, I Books IXV. Loeb Classical Library No. 344, Cambridge, MA,
Harvard University Press; London, William Heinemann Ltd. 1940.Internet Archive
Sara Peterson, An account of the Dionysiac presence in Indian art and culture
. Academia, 2016
Pickard-Cambridge, Arthur, The Theatre of Dionysus at Athens, 1946.
 Powell, Barry B., Classical Myth, 5th edition, 2007.
Ridgeway, William, Origin of Tragedy, 1910. Kessinger Publishing (June 2003).ISBN 0-7661-6221-4.
Ridgeway, William, The Dramas and Dramatic Dances of non-European Races in special reference to the origin of
Greek Tragedy, with an appendix on the origin of Greek Comedy
, 1915.
Riu, Xavier, Dionysism and Comedy, Rowman and Littlefield Publishers (1999).ISBN 0-8476-9442-9.
Seaford, Richard. "Dionysos", Routledge (2006).ISBN 0-415-32488-2.
Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,ISBN 0500202494
Smith, William, Dictionary of Greek and Roman Biography and Mythology
, 1870, article on Dionysus
Sutton, Dana F., Ancient Comedy, Twayne Publishers (August 1993).ISBN 0-8057-0957-6.

Further reading
Livy, History of Rome, Book 39:13, Description of banned Bacchanalia in Rome and Italy
Detienne, Marcel, Dionysos at Large, tr. by Arthur Goldhammer, Harvard University Press, 1989.ISBN 0-674-20773-
4. (Originally in French asDionysos ciel ouvert, 1986)
Albert Henrichs, Between City and Country: Cultic Dimensions of Dionysus in Athens and Attica, (April 1, 1990).
Department of Classics, UCB. Cabinet of the Muses: Rosenmeyer Festschrift. Paper festschrift18.
Sara Peterson, An account of the Dionysiac presence in Indian art and culture
. Academia, 2016
Seaford, Richard. Dionysos (Gods and Heroes of the Ancient World) . Oxford: Routledge, 2006ISBN 0-415-32487-4.
Taylor-Perry, Rosemarie The God Who Comes: Dionysian Mysteries Revisited . New York: Algora Press, 2003
ISBN 0-87586-214-4.
Frazer, James "The Golden Bough"

External links
Theoi Project, Dionysosmyths from original sources, cult, classical art
Ca 2000 images of Bacchus at the Warburg Institute's Iconographic Database
Iconographic Themes in Art: Bacchus | Dionysos
Treatise on the Bacchic Mysteries

Retrieved from "https://en.wikipedia.org/w/index.php?title=Dionysus&oldid=814963505

"

This page was last edited on 11 December 2017, at 22:45.

Text is available under theCreative Commons Attribution-ShareAlike License ; additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia is a registered trademark of theWikimedia
Foundation, Inc., a non-profit organization.