1. The Characterisation and Role of Dionysus
Prologue
What impression of Dionysus do we get from his outfit?
Line 48- Heracles: ‘I can’t stop laughing- look at that lion skin on top of your yellow
little number. What’s the idea? What these boots and club? Where on earth were you
heading?’
He’s wearing a traditional saffron robe with lion skin and boots. He’s dressed as Heracles,
trying to look manlier, when, in reality, he looks silly.
What sexual preference does Heracles suggest Dionysus has?
Line 56- Dionysus: ‘a sudden desire filled my heart’ Heracles: ‘for a woman? (...) then for
a boy? (…) for a man (…) well, you were with Cleisthenes.’
Dionysus’ association with Cleisthenes means that he is implied to be a passive
homosexual. This was bad, because it wasn’t seen as domineering and masculine.
What impression of Dionysus do we have by line 208?
His costume suggests he’s ridiculous and effeminate, juxtaposing his tragic depiction in
Bacchae.
He is also suggested to be stupid in around line 185 (Charon: ‘who wants to go to hell or
Damnation?’ Dionysus: ‘Oh, yes, me!’ (…) Where are you going?’) and is disrespected
(Charon: ‘Your seats here, fatty’ and ‘give me the fare and get out’).
He is not a commanding presence, even to his slave, and reveals in around line 55 he
hasn’t fought in the Polynesian or Persian war as ‘while I was on board, reading
Andromeda to myself’ and ‘never been at sea, never been near Salamis. How can I row?’
What role does Dionysus play during the chorus of frogs in line 210?
Dionysus plays a comedic role in his interactions with the frogs. There’s the farce and
slapstick of a god rowing. They’re worshiping him and he’s saying ‘I am beginning to
feel a pain- in the arse’ and they start arguing with him ‘mind your own business.’
The frogs may have been in visually dynamic costumes and dancing, making them
interesting as well, and they reference real life events, like the ‘day of pots.’ There are also
the made-up words of ‘with a froggle-bubble-splash-dash.’
Dionysus also joins in the choral song ‘bre-ke-ke-kex, co-ax, co-ax’
He also plays a comedic role independent of the frogs. There’s the scatological humour of
‘just about to poo.’
In what ways do Dionysus (and Xanthias) contribute to the humour from line 271?
,Meta theatre. Xanthias: ‘I suppose you saw the father-killers and oath breakers he told us
about?’ Dionysus: ‘Oh, yes, by Poseidon, I certainly did, and I can still see them now’
and ‘Priest, save me- I’ll get you a drink after the show’
He is boastful and a coward. ‘He was just bragging to make me afraid, knowing what a
good fighter I am.’ Vs ‘Quick. Get in front.’ The comical image of a master hiding behind
the slave. A god is easily deceived. Physical humour, reversal of stereotypes.
He’s sex crazed. Xanthias: ‘then it’s a woman- absolutely gorgeous!’ Dionysus: ‘where?
Here, let me go to her…’
Xanthias: ‘Dionysus, then.’ Dionysus: ‘that’s even worse.’ He’s not ready to live up to the
god role.
Scatological humour. Xanthias: ‘I am afraid your tunic’s turned brown from fright.’
How does Dionysus contribute to the humour in the choral ode of line 300?
Dionysus eavesdrops on his own worshippers. ‘Let’s crouch down here and quietly have a
listen.’ It’s not very dignified. He’s not godly.
Line 415- Dionysus: ‘somehow, I’ve always been a fan of this sort of thing. I’d quite like
to join the Chorus- and play with her myself.’ He’s obviously going to be a fan of his
own worship, and after ‘a little booby peeped out’ he suddenly becomes interested. He’s
sex crazed.
How does Dionysus contribute to the humour in the scene with Aeacus in line 460?
Pun and scatological humour. Dionysus: ‘I’ve made a caprifice.’ When he requests ‘place a
sponge of my heart’ he really uses it to clean himself up as ‘yes: it was frightened and
crept down to my bowls.’ This is not godly. He is a coward, with the worst traits of both
being a god (excessive pride, lack of seriousness) and humanity (sex-crazed, cowardly,
bodily functions).
‘You are the most cowardly of gods- and men.’ He is not superior to men and hasn’t
reached his full potential yet. Also, a parodying of Bacchae ‘most terrible and most mild
to men.’
In what ways do Dionysus (and Xanthias) contribute to the humour with the maids from
line 549?
There is the meta-theatre in the reference to the heeled boots that actors would have worn.
Pandoceutria: So you weren’t expecting me to recognise you again in those high-heeled
boots?’
Dionysus is presented cowardly, asking to swap positions with his slave. This is farcical.
He is scared of (female) innkeepers as a god. Dionysus: ‘but if I take the disguise from
you ever, ever again, may I, my wife, and my children- and poor, gummy-eyed
Archedemus- be utterly destroyed.’
, Dionysus also askes is Xanthias is upset with him. As Xanthias is his slave this is unusual
as it was not typical for masters to care for their slaves feelings. Dionysus: ‘I know, I
know you’re angry, and you’re right to be. And if you hit me, I wouldn’t blame you.’
Dionysus also chooses a domestic oath, swearing on his wife and children. Gods often
swore on the river Sphinx, so the fact that he doesn’t foreshadows he has little plans to
actually keep his word. ‘May I, my wife, and my children- and poor, gummy-eyed
Archedemus- be utterly destroyed.’
How is Aeacus’ misunderstanding and the role reversal of line 605 create comedy?
The pun of Phartphace. Aeacus: ‘Ditylus, Sceblyas, PhartPace, come here and rough him
up.’
Aristophanes uses farce. There is the god and slave role reversal, which allows him to
play with power dynamic and emphasise Dionysus has reaches his full potential in the
god role. Dionysus: ‘don’t torture me. I’m a god. Dionysus, son of Zeus. This man is a
slave.’
There’s the intertextuality of the reference to Hipponax while they try to cover up their
pain. Dionysus: ‘No, I didn’t. I was just remembering a verse of Hipponax.’
Dramatic irony. Aeacus is supposed to be one the judges in the afterlife, giving
punishments. Yet he is presented as being an awful judge, with there being no conclusion.
Aeacus: ‘By Demeter, I can’t find out yet which one of you is the god.’
From line 813, what is the role of Dionysus in this section of the play?
Now he is a judge and mediator who commands authority and respect. ‘Hey, Aeschylus,
control yourself, you honour.’
He’s not the same character as he was before, losing a lot of the buffoonery that made
him a comedic character. He has seemingly begun to come into his own as the god of
theatre, making him the best judge. ‘Before the contest of cleverness begins, let someone
fetch incense and fire so that I can pray that my judgement will be perfectly inspired.’
From line 907, what role does Dionysus play in this section of the play? How does this
compare with everywhere else so far?
He’s become a mediator who engages with the poets equally. ‘He’s right, not a grunt’
(line 914) vs ‘I rather liked the silences. I enjoyed them just as much as all that wittering
you get today.’ (line 916)
He also comments on Athenian society. Euripides: My drama was democratic, by
Apollo.’ Dionysus: ‘Give it a miss, old chap, You’re not treading on the saftest ground
there.’
‘Theramenes? Yes, he’s a dangerously clever man in everything he does. If he falls into
trouble, or anything like it, he’s out, faster than a flick of the dice.’
He has become more respectable.
From line 1120, how is Dionysus as an overseer of the debate about prologues?
