Dionysus
Painting “Bacchus” by Michelangelo Merisi da Caravaggio
Alex Froelich
Metamorphoses is a play by Mary Zimmerman that depicts several stories from Greek mythology, taking several moments for creative liberty and comic relief. One of the acts is an interpretation of the story of Midas. Through this story, Dionysus (or Bacchus, as the script calls him by his Roman name), is portrayed as a friendly and benevolent god, which only partially encompasses his reputation in mythology where he is often seen as unpredictable in both beneficial and detrimental ways to those who interact with him. Mary Zimmerman sifts through the many aspects of his personality that are described through myth and makes a definitive decision in how she portrays the god, his personality, and his followers.
In this interpretation of the story, a king named Midas shows leniency towards one of Dionysus’s followers who drunkenly causes disturbances in his town. Rather than executing him, he gives the drunk a place to recover. Dionysus appears to Midas and as a reward gives the king one wish. Midas then foolishly asks for the ability to turn anything he touches into gold. Dionysus warns him against this wish, a warning which is ignored. After accidentally turning his daughter into a gold statue, Dionysus regretfully states that he cannot fix the situation and even apologies, but tells Midas where he can find a cure to his blessing turned curse.
This depiction of Dionysus is deliberate and juxtaposes both aspects of his personality from other myths and interpretations as well as showing characteristics that are much different from how other gods and goddesses are often portrayed. First, Dionysus having enough gratitude to grant a wish is not unique in Greek mythology, as other deities at times express their thanks to humans who manage to help them. However, having the god show concern for the wish and want to help the grantee not make a mistake is extremely uncharacteristic, as myths often aim to teach some kind of lesson through a god or goddess’s desire to prove a point to a human. In this case, Dionysus unpredictably tries to help Midas instead of essentially encouraging him to learn a lesson in greed. However, it is an effective decision by the playwright because it accentuates the greed Midas exhibits such that he even ignores the advice of a god. Dionysus also had a reputation for unpredictability in his interactions with others which spurred his followers such as the Maenads who were often in a drunken craze to travel all over ancient Greece. However, this story decides instead to depict Dionysus and his followers as more calm and understanding as opposed to unpredictable to the point of potential danger and violence. Finally, Dionysus exhibits a characteristic in this interpretation that is nearly unheard of among other deities in that he displays remorse for Midas’s situation. While it is not clear whether he is expressing sympathy or is truly apologetic for granting the wish, it is still a bold choice by the playwright which further develops this interpretation of Dionysus.
Dzianis Zharyn
I would like to tell you about a painting depicting the god Dionysus, as we learned in Lesson 5, video #2 also known as Bacchus (the youngest of the Olympians, the god of vegetation, viticulture, and winegrowing). The Italian painter Michelangelo Merisi da Caravaggio painted this picture. This painting is an outstanding work of Baroque art, it clearly conveys the sensuality and energy associated with Dionysus.
If you look at "Bacchus" in more detail, you will notice that it shows the god lying on a bed of leaves and fruit, holding a goblet of wine in one hand and gesturing toward the viewer with the other. His face appears flushed and his eyes are heavily closed, from which it can be inferred that he is in a state of ecstasy or intoxication. Personally, I am struck by the use of light and shadow, which creates a sense of depth and texture and seems to pull you into the scene. I would like to draw your attention to one of the most striking aspects of Caravaggio's Bacchus, namely the way he chose to portray the god. We are used to seeing the gods as muscular men with huge and athletic bodies, but Bacchus is depicted here more as an effeminate child, not resembling a god. His soft facial features and languid pose suggest that he is very sensual, which to me is a bit at odds with the traditional male ideals of the time. In my opinion, this robot is a great example of realism. Because it seems to create the illusion that you are there with Dionysus. The author makes great use of the contrast between the sweeping dark colors, which also helps to immerse you in the picture. This realism is especially evident in the way Caravaggio depicted the different details and textures in the painting, such as the smooth skin of Bacchus and the rough grape leaves on the bed. You may wonder why Caravaggio's Bacchus has remained a masterpiece of Baroque art. In my opinion, this painting shows the essence of Bacchus as a very sensual and excessive man. In a world where restraint and self-control are often valued, this painting serves as a reminder that it is perfectly normal to flow with one's desires and one can find beauty and pleasure in it. As art historian Andrew Graham-Dixon notes, "the painting is a celebration of Bacchus as the god of wine, the god of intoxication, the god of pleasure and pain" (Graham-Dixon, 2010).
I would also like to tell you about the myth of Dionysus that was mentioned in lesson №5. calls 1st birth myth. According to the most popular version, the first time Dionysus was with the mortal woman Semele and Zeus, king of the gods. Semele tricked Zeus into seeing him in his true, divine form, as a result of which she could not withstand all the power and radiance of Zeus and was burned to ashes, but not Dionysus, who is "born" for the first time.
Zeus, who had promised Semele to fulfill her every wish, sewed the child into his thigh, for further development, and then "born" a second time. and this made him a symbol of rebirth, renewal, and the cyclical nature of life.
Works Cited
Britannica, Encyclopedia. “Dionysus.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 5 Jan. 2023, https://www.britannica.com/topic/Dionysus .
Morford, Mark, Lenardon Classical Mythology. OXFORD UNIV PRESS, 2023, RedShelf, RedShelf.com.
https://www.scribd.com/doc/296506025/Metamorphoses-Script#
Accessed 17 February, 2023