The human epiphany of Dionysus and his duality with Pentheus in the tragedy "The Bacchae"

Abstract

Euripides's "The Bacchae" is the only complete tragedy in which one of the main characters is the god and patron of the theater, Dionysus. It is therefore unsurprising that numerous studies have been devoted to his portrayal in this work. Most of these studies center on the comparison between Dionysus and Pentheus, another main character and the god's cousin, who rejects his cult. On the contrary, in Russian historiography, research questions devoted to Dionysus in tragedy have rarely been touched upon. The author aims to analyze the god's human epiphany. Human epiphany as a subject of study is particularly interesting because such theophany, given the god's appearance in tragedy seemingly with Dionysus's own permission, can be considered a metatragic element of the second order, as this epiphany is accomplished with the permission and intention of the already "tragedic" deity. In this article, the author employs general scientific methods of analysis and synthesis, a comparative historical method, and terminological and lexical analysis. The author examines the appearance of human theophany and the tradition of its transformation, the main features of the image perceived by other characters, both hidden and intended for the audience, expressed in the chorus's lines, and a comparison of Pentheus and Dionysus. The author concludes that the god's appearance is variable, and his features in the tragedy "The Bacchae" are linked to the motifs of the work itself. The author examines the main themes associated with Dionysus's human epiphany, such as the concept of the god as an outsider, the impossibility of capturing him, and the duality of Pentheus and Dionysus, which receives particular attention in the article. The author concludes that Dionysus is conceptualized as non-dual in the sense implied by this term in transpersonal psychology. Further prospects for research into the god's human epiphany are also outlined.