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In Greek mythology, maenads (/ ˈ m iː n æ d z /; Ancient Greek: μαινάδες) were the female followers of Dionysus and the most significant members of his retinue, the thiasus. Their name, which comes from μαίνομαι ( maínomai , “to rave, to be mad; to rage, to be angry”), [ 1 ] literally translates as 'raving ones'.
Articles relating to the Maenads, the female followers of Dionysus and the most significant members of the Thiasus, the god's retinue. Their name literally translates as "raving ones". Their name literally translates as "raving ones".
Accordingly, Pentheus imprisoned Dionysus, thinking the man simply a follower, but his chains fell off and the jail doors opened for him. Pentheus torn apart by Ino and Agave, lekanis lid, ca. 450 BC, Louvre. Dionysus lured Pentheus, disguised as a woman, out to spy on the Bacchic rites, where Pentheus expected to see sexual activities.
One well-known manifestation of divine madness in ancient Greece was in the cult of the Maenads, the female followers of Dionysus. However, little is known about their rituals; the famous depiction of the cult in Euripides ' play The Bacchae cannot be considered historically accurate.
Dionysus was the god of the grape harvest and wine. He is usually painted by the Kleophon Painter with his female followers called Maenads. They were known for getting extremely drunk and losing all inhibitions, often engaging in uncontrolled sexual behavior as well as hunting wild animals.
Examples of sparagmos appear in Euripides's play The Bacchae. In one scene guards sent to control the Maenads witness them pulling a live bull to pieces with their hands. Later, after King Pentheus has banned the worship of Dionysus, the god lures him into a forest, to be torn limb from limb by Maenads, including his own mother Agave.
Paris Olympics organizers issued an apology on Sunday after a scene depicting the Greek god Dionysus drew criticism for allegedly mocking Leonardo da Vinci's painting “The Last Supper,” which ...
The title refers to the groups of devoted female followers of the god, who serve as the chorus in the play, and would engage in ecstatic rituals to the point of euphoric delirium motivated by the god's association with wine, sexuality, celebration, and the theater. The play deals with the themes of religion, sexuality, sacrifice and devotion. [5]