#bacchant

//MAENAD// 2021

for my girlfriend, who is beautiful and loved and deserves to see herself as the work of art she is

Inspired by Ancient Greek art, The Bacchae by Euripides, and being a trans theater artist in the middle of a plague.

And we reach the last part of the second article about Dionysos! If you haven't caught up, the first part of the second article is here ; and if you want to go even further back check the first part of the first article here.

III) Modern approaches to Dionysos: Theater and drunkenness

Nietzsche: The Birth of Tragedy

We evoked before how during the Lenaia , Dionysos assisted to the preparation of the wine in the shape of a mask. When it comes to theater, it is by the magic of the god that the mask “comes to life”. The Greek theater was born of the invocations of Dionysos: it was to him that the chorists of the dithyrambic contests addressed their salutations ; it was him who was supposed to inspire the poets of the dramatic contests, during the rustic Dionysia (December-January), the Lenaia, ad especially during the Great Dionysia (March-April). On the benches of the theater, just like in the thiasis, the genders and the social classes were mixed together (at least, in theory) ; and on the stage, madness ruled as the imagination triumphed over the reality. But the genre that truly held the Dionysian spirit, more than the comedy or the satirical drama, was the tragedy.

In his The Birth of Tragedy (1872), Nietzsche highlights the analogies between the tragic genre of Ancient Greece and the cult of the god. At the core of each dramatical representation, there is a metamorphosis, a form of “enchantment” that reminds one of the Dionysian possession. The tragic chorus, spectators and actors of the play at the same time, symbolize “the crowd possessed by Dionysos” ; and the tragedy brings the same forgetfulness of the past, the same deliverance and the same catharsis as the Bacchic intoxication. Taking back the idea according to which “tragedy” comes from “tragos”, the goat, the sacred animal of Dionysos supposedly sacrificed to the god during the dramatic contests, Nietzsche proposes an hypothesis according to which the “passion/suffering” of Dionysos was the first subject of tragedies – or the first tragedy lot. Nietzsche was certain that the cruelty inherent to the tragic genre was the same that the god encouraged the Bacchants to practice: madness, murder, destruction, ripping apart, are all told or symbolized on the tragic stage as much as within Dionysos’ own myth.

Nietzsche concluded by announcing a renewal of the tragedy, that Aristotle’s influenced had suddenly made “gone astray” from its Dionysian role. It is this same renewal of the theater that Artaud demanded in his manifest The Theater and its Double (1938). While he does not name Dionysos, he insists that tragedy should be given back its original inspiration: cruelty. Free from its psychological deviations, once again metaphysical, the theater had to bring, just like a plague, a liberating catharsis. According to Artaud “theater is a plague because it is the supreme balance that is only acquired with destruction. It invites the spirit to a delirium that causes the exaltation of the energies.” This last sentence recalls the Bacchic “mania”, but if Artaud disdains Dionysos and prefers to reference the Balinese theater, it is because he sees in the Dionysian madness a force of anarchy rather than something planned. But still, for Artaud the theater stays a political force of subversion, that “reveals to the collectivities their dark power, their hidden side”. For him the action of the theater is a Dionysian one, a nocturnal, dark, dangerous power, just like a bacchanal.

Bacchic madness and contemporary poetry

The entire work of Nietzsche is placed under the invocation of Dionysos. In Thus spoke Zarathustra (1885), he glorifies a “Dionysian demon”. Beyond his numerous references to the attributes of the god in his poems (honey, wine, donkey, lion, snake), his writings glorify the two side of the Dionysism, the dance and the drunkenness, both tied by laughter. Nietzsche, however, prefers insisting on the abolition of the frontier between human and divine, allowing for the existence of “superior men”, rather than on the abolition of the frontiers between humans, despite the latter being essential to the Dionysian spirit.

Before Nietzsche, Rimbaud gave a very different description of the “saintly intoxication” in his Matinée d’ivresse (Morning of drunkenness, in his 1872-73 Illuminations). There, he recreates the ambivalence of the Bacchic madness by having pleasure meet pain. Suffering becomes the promise of a consecration, and while Dionysos is never named, it seems that the theme of a painful intoxication leading to salvation was inspired by him. “Oh, us, now worth of those tortures! Let us gather faithfully this superhuman promise […] this promise! This madness!”. The “superhuman promise” can be the one of the enthusiasm, literally the identification to the god. Just like within a bacchanal, children, slaves and maidens gather for a nocturnal ritual, for an “eve” ; as for the “madness” and the “violence” regularly announced, they can be linked to the bloodthirsty cruelty of the Bacchants by the last words  “Here comes the time of the Assassins”.

Claudel will renew the ancient image of the Maenad in the middle of a mystical delirium, by adapting her convulsive dance to the syncope-rhythm of his verse, in the first of his Five great odes (1908) “The Muses”: “A drunkenness like the one of the red wine and a pile of roses! Grapes under the feet that squirt, great flowers all sticky with honey! / The Maenad distraught by the drum! At the piercing scream of the fife, the Bacchant stiffens within the thundering god. / All burning, all dying, all languishing!” We can notice that the ecstasy of the Bacchant is described like the deadly one Semele knew before Zeus (the “thundering god”), and the last verse translates the mix of the loving desire and of death. The interpretation of Claudel reminds us that it was said that Semele, when pregnant, had been overtaken by a strong desire to dance: Claudel sees in her the first of the Maenads, a victim of Dionysos before he was even born. But for Claudel the Bacchic madness, in its musical aspect, is also a symbol of poetic inspiration: “Ah, I am drunk! I am offered to the god! I hear a voice in me, and the rhythm goes faster…” The poet and his text are both invaded by, possessed by the divine force.

Finally, Saint-John Perse, in Winds (1946), gives to this possession a larger scope, at the size of “the entire world of things”, and thus he sees in her and in those hosting it one of “those great forces” of subversion that are erasing the wearing-out of the century: “Unpredictable Men, Men harassed by the god, Men fed with a new wine and who seem pierced with lightning / Our salvation is with us, in the wisdom and in the intemperance.” Just like with Claudel, the mania is associated with thunder, and finds back the ambiguity of the union of the opposites. “Wisdom” and “intemperance” are one and the same. It is the Dionysism, destruction and balance all in one: it is can lead to anarchy, it is not in itself anarchic (unlike what Artaud believed), rather it is a “method”, as Rimbaud said, that corresponds to the three steps of the “orgia”. But balance does not mean stability, nor serenity. Not at all: Dionysism is a balance, for it is the counterweight, the counterpower needed to oppose the Apollonian order, and to make the “normal” world more moderate.

IV) Conclusions

A few of the ancient marble works in the Duke of Aumale’s collection at the Condé Museum in the Château de Chantilly, Oise, France

We continue our journey down the gallery put together by the Museum of Wine to explore the depictions of Dionysos and his cohorts through the art... Previous item of the gallery was here. Today... Dionysos' entourage. And we begin with...

The Triumphal Cortege of Dionysos, by Maerten van Heemskerck

A) The Procession of Dionysos

(As usual all text here is loosely translated from the website)

The motif of the Procession of Dionysos, or Cortege of Bacchus, tends to be heavily inspired by Ovid's description of this triumphal parade within his Metamorphoses - but it is the culmination of Dionysos' entire earthly life.

To shield baby Dionysos from Hera's wrath, Zeus took him far away from Greece, into the land of Nisa, where he was entrusted to nymphs that raised him. Once adult, Dionysos discovered the grapevine and how to make wine. But Hera struck him with madness, and he wandered throughout Egypt and Syria, before finally reaching Phrygia where the goddess Cybele welcomed him, healed him, purified him and initiated him to her mystery cult. Now sane, he returned to Thrace where the ruling king, Lycurgus, proved himself hostile to the young man and tried to imprison him. Dionysos escaped Lycurgus by fleeing to the Nereid Thetis who welcomed him under the sea. But Lycurgus captured the Bacchants that were with Dionysos - before the god rescued them and struck Lycurgus with madness, making him cut his own leg and kill his son with an axe as he believed he was cutting Dionysos' plant, the grapevine. When Lycurgus regained his sanity, the land was cursed with sterility and the oracle announced only the king's death would return fertility to the soil: he was torn apart by four horses.

Dionysos then left Thrace to go to India. With a magical and supernatural army, he managed to wage war and conquer the land - and this is where the "triumphal procession" motif comes from, as he paraded in a (typically Roman way, since Ovid was the source of descriptions) chariot in a chariot pulled by panthers, decorated with ivy and vine, and followed by Silenos, satyrs, centaurs and Maenads.

Bacchus' Triumph, by Benvenuto Tisi

Bacchus' Triumph by Nicolaes Moeyaert

Here, Bacchus' chariot is a large barrel of wine pulled by two angry panthers. The cohorts of Dionysos are joyful and merry, drinking a lot of wine - but a few details have to be caught. To the right, there is a satyr vomitting. Behind him, there is a knight all in armor, and a sick old man visibly suffering from the gout. The painter was thus trying to warn the audience about the negative consequences of alcohol abuse: near Bacchus' procession, war and disease lurk.

Bacchus' Triumph by Nicolas Poussin

This painting depicts Dionysos' triumphal return after his victories in India. At the bottom right you can see a river-god: he symbolizes the river Indus, and by extension the entire Indian subcontinent. The Oriental nature of the journey is also shown by how a Maenad riding a horse is wearing a leopard's skin. Silenos has a vine in his hand, and while Bacchus holds a thyrsus, his traditional attribute, all the other symbols are however typical of a Roman general and of the "triumphs" of the military of Ancient Rome - for example the red cloak typical of triumphing Roman generals and Roman emperors.

B) Silenos

Silenos is both the teacher and adoptive father of Dionysos, and as such he follows him everywhere. But Silenos is also the personifiction of Drunkenness, and as such he is at the same level as the other minor deities present in Dionysos' parade, such as Comos (merriment/festivity) or Coros (Satiety). From Renaissance onward Silenos became a recurring pictural motif. Tradition depicts him as a joyful and pot-bellied old man, as ugly as he is lustful, his drunk state making him grotesque. "Silenus" also became a generic term to designate an old or elderly satyr.

The Misadventures of Silenus, by Piero di Cosimo

In this painting, Silenos actually appears three times. In chronological order, we first see him at the center of the picture. hile still riding his donkey, he tries to get honey from a hive in a hollow tree, only to be attacked by the bees. On the left we can see him being healed with berry juice, while on the right people are trying to put him back onto his feet.

Drunk Silenus, by Jose de Ribera

Here Silenos appears as an obese human. The one that holds his head is his father, the god Pan.

Drunk Silenus, by Pierre Paul Rubens

C) Satyrs

The satyrs are ambiguous creatures, half-goat half-man, who lived in the wilderness. Associated with the Maenads, they formed together the "Dionysian cortege" that paraded with the god. They are also associated with the god Pan. They are frequently hanging out or flirting with nymphs, minor deities renowned for their youth and beauty. Nymphs are female spirits that inhabit most places within the landscapes: they are found within woods and forests, in valleys and meadows, by streams and rivers, in mountains and grottos... They are also typically associated with various major deities - including Dionysos.

Nymph and Satyr, by Christiaen van Couwenbergh

Two Satyrs, by Peter Paul Rubens

Satyr drinking the juice of a pressed grape, by David de Haen

D) Maenads and Bacchants

The Maenads are the female followers of Dionysos, who escort him in all of his adventures, including his journey to India. They are his servants, not his priestesses, but they do have an important role in his religion and in his worship. They participate to all the mysteries and all the festivals in honor of the god. They are dressed with lion skins, their chest bare, and they hold the thyrsus, a lance surrounded by ivy. They personify the orgiastic spirits of nature, and are renowned for their frenetical dances that place them in a mystical ecstasy. Some heroes fell victim to their inhuman strength - the Bacchants (Roman name of the Maenads) were known to act like ferocious and savage beasts.

The Dance of the Bacchants, by Charles Gleyre

Pentheus hunted by the Maenads, Charles Gleyre

The Death of Orpheus, by Emile Lévy

E) Centaurs

The centaurs are creatures appearing as half-men half-horses. They are part of the Dionysian procession, and for the Ancient Greek they symbolized all of the bestial appetites (drunkenness and lechery). Their fight against the Lapiths was an allegory for the fight between civilization and savagery.

The Battle of the Lapiths and the Centaurs, by Piero di Cosimo

The Battle of the Lapiths and the Centaurs at the wedding of Hippodomy, by Karel Dujardin

Battle between the Lapiths and the Centaurs, by Lucas Giordane

These three paintings depict the same legend. Pirithoos married Hippodamia and invited all the Olympian gods to his wedding. However, since there were most guests than the palace could contain, Pirithoos had to place several of them within a cavern nearby - a fresh and shadowy, very pleasant grotto. Within this cavern were Nestor, Caeneus and several Thessalian princes, alongside Pirithoos' cousin the Centaurs. The Centaurs were not used to drinking wine. Upon sensing its smell, they rejected the fermented milk they had been offered, and swallowed all the wine. But in their ignorance, they took the wine without cutting it with water as it was tradition - as such, they took pure alcohol, and became so drunk that when the bride arrived with her handmaidens to salute them, a centaur named Eurytion broke all the furniture and took her by the hair to drag her away. All the other Centaurs imitated him, snatching away all the women and girls (and young boys) they could find, and trying to rape them all. Pirithoos, with the help of Theseus, went to rescue Hippodamia - he cut off Eurytion's nose and ears and, with the help of the other Lapiths, he threw the mutilated Centaur outside of the grotto.

A battle ensued that lasted all night, and during which Caeneus the Lapith was killed. This was the start of a very long war that would forever oppose the Centaurs and their neighbors the Lapiths.

F) A last thought

André Lhote's "Bacchant"

The character of the Bacchant reappeared within the art of the 19th century, all the way to the beginning of the 20th. Originally, the Bacchant attracted the artists in its role of member of the procession of Bacchus, the thiasis - the Bacchant (or Maenad) is primarily the priestess of Bacchus/Dionysos, and has specific attributes: a skin belonging to a wild animal (usually a panther), a cup of wine, a crown of ivy or vine, a thyrsus... But the Bacchant of the 19th century, entirely devoted to the service of the god of wine, becomes a being of flesh. She listens and obeys to her impulses, she shows a savage sensuality, she offers to the artists the possibility to depict an ecstatic, equivocal nudity - not to say licentious. Slowly, painters and sculptors will use the myth as an excuse to depict the eroticism of a body arching and rearing. The bacchant loses her mythological attributes, and becomes simply a naked woman, free from all constraints. However, the idea of drunkenness and sensuality is well-kept.