The Supernatural in the Tragedies of Euripides 79 



17. The Bacch/E 



The " Bacchse " was composed or completed during the resi- 

 dence of Euripides with Archelaus in Macedonia and in all prob- 

 ability was the work of his latest years. It brings before us the 

 conflict between divine power claiming its due recognition (Dion- 

 ysus), and human arrogance denying that claim (Pentheus). 

 The play details the miserable end of Pentheus, who stands alone 

 in obstinate resistance to the worship of Dionysus. A devout 

 and religious tone is predominant throughout this play. The 

 splendid choral odes of the " Bacchanals," their passionate cries 

 and wild ecstatic prayers express the one theme of pious devotion 

 in varying forms following the development of the action. 



The chorus in an ecstatic prayer call the Goddess of Sanctity 

 to listen to the impious language of Pentheus : 



Bacch. 370 ff. : 



'Ocrta TTOTva dechv, 



'Oata 5' a Kara yav 



Xpvcreav Trrepvya 4>kpeis, k. t. X. 



" O Sanctity, thou who dost bear dominion 



Over Gods, yet low as this earthly ground, 

 Unto usward, stoopest thy golden pinion, — 



Hear'st thou the words of the king, and the sound 

 Of his blast of defiance, of Pentheus assailing 

 The Clamour-king? — hear'st thou this blasphemous railing 

 On Semele's son, who is foremost found 

 Of the Blest in the festival beauty-crowned? etc." 



In the spirit of Bacchic frenzy the chorus invoke the God : 



Bacch. 414-15 : 



e/cei(r' 0176 yue, Bpo/xte Bpo/^te, k. t. X. 

 "... Thitherward lead me, O Clamour-king ! 

 O Revel-god, guide where the Graces abide 

 And Desire, — where danceth, of no man denied. 

 The Bacchanal ring." 



The chorus call upon the God to come and check the insolence of 

 the king : 



Bacch. 550 ff. : 



kaopas Tad', ch Atos iral 

 Aiovvcre, aoi/s wpo(f)r]Tas k. t. X. 



