If the spirit of the classical Greek playwright Euripides could be summoned from the grave and observe our feminist age, he would not be surprised. In The Bacchae (premiered circa 405 B.C.), he told the story of Pentheus, the unfortunate ruler of Thebes, who resisted the ritual incursion of Dionysus, the androgynous god of wine, ecstasy, passionate delirium, and the oracular Mysteries.
In the play, Dionysus returns to Thebes, the city of his birth, accompanied by a retinue of bacchants, or drunken revellers. Finding himself mocked, he infects the women of the royal household with an access of divine frenzy, whereupon they flee into the forest to perform paroxysms of fevered worship. Pentheus wishes to preserve the functioning of the state and recognizes that the upsurge of visionary dementia and phobic irrationality exemplified by the maenads or “raving ones” — the RadFem hordes of the day — would lead to the disruption of the political order and the destabilization of civil society.
Pentheus intends to put an end to the insanity but, influenced by Dionysus, falls prey to curiosity and is persuaded to disguise himself in women’s clothing, enter the forest and witness the maenadic revels from a perch in a tall fir tree. He is spotted by the tribe of hysterics, brought to the ground and ripped to shreds, the mordancy of the scene enhanced by the fact that it is his own mother, Agave, who tears off his head and carries the trophy back to Thebes.
Of course, the play is far more complex than this short synopsis would indicate. Euripides treats the perennial conflict between the Olympian gods and the maternal Furies, between man and woman, between social order and individual enthusiasm, between Apollo, the god of reason and light, and Dionysus representing the darker forces of emotion and rapture — or as we would say today, of libido.
This theme was famously addressed by Euripides’ great predecessor Aeschylus in the Oresteian Trilogy, where the female goddesses the Eumenides (or Furies) are pitted against the male Olympians. Both forces, Aeschylus felt, the visceral and the rational, were necessary to the proper conduct of the state and in the life of the individual, but must be contained in a condition of approximate balance to avoid a descent into anarchy. The message of The Bacchae, however, is ambiguous insofar as the conclusion of the play suggests the desired victory of the Dionysian infatuation, yet the disintegration of public order and Apollonian statecraft would have been obvious to Euripides’ audience. We recall that Plato’s Republic, in which music, art, and trance-like phenomena were to be the prohibited by law, appeared circa 380 B.C., only 25 years after the initial performance of The Bacchae. Both sides of the dynamic had their dedicated votaries.