Identity in Euripides’ Bacchae

Euripides’ Bacchae explores identity primarily through Pentheus, whose complex identity mirrors the ambivalent nature of the play. Pentheus is inherently attracted and intimidated to the idea of ‘the unknown’; characters and appearances who do not conform to society such as Dionysus and the bacchants. Consequently, Pentheus sexualises the appearances of Dionysus and the bacchants while attempting to suppress his bisexuality, and as a result conforms to the concept. Moreover, Richard Rutherford notes “Illusion and delusion are widely prevalent in the play” (126) and therefore is a significant concept in relation to identity, as will be addressed later.

Pentheus’ attraction to Dionysus is first illustrated by his obsession with Dionysus’ appearance, specifically regarding his fixation of Dionysus’ hair. Rutherford’s “illusion and delusion” (126) is best exemplified by Pentheus’ obsession with appearance, particularly Dionysus’, as this obsession is caused as a result of Dionysus’ malicious behaviour in his action to deceive and delude Pentheus. This repetitive obsession illustrates a confused characterisation of Pentheus regarding his sexual attraction to others. For example, Pentheus repeatedly comments phrases such as “those locks of yours are long” and “they ripple right down your cheek, most alluringly” (138), during his first dialogue with Dionysus. Therefore, Pentheus repetitively sexualises hair and by doing so, reveals his obsession concerning appearance.

Pentheus’ obsession with appearance is not limited to his own appearance, but to the appearance of others: Dionysus and the bacchants. As a result, Pentheus sexualises other’s appearances and this exemplifies his bisexuality which he attempts to suppress by constantly attempting to appear as masculine. In addition, Justina Gregory states due to Pentheus’s “belief he never takes the stranger’s warnings seriously” (27). However, I think Pentheus does not contemplate Dionysus’ “warnings seriously” (Gregory 27) as he is intimidated by Dionysus’ appearance and his sexual attraction towards him.

Additionally, Pentheus’ attraction to long hair and appearances exemplifies his effeminate character. Pentheus is attracted to both the bacchants and Dionysus for their effeminate characterisation, however, he fears this attraction and attempts to assert a masculine appearance in the form of power to control his suppression of his sexuality. This masculine appearance of Pentheus is epitomized by his attempt to assert orders such as his desire to entrap and control the bacchants, I’ll bind them in iron nets” (133). Consequently, Pentheus’ identity experiences a change throughout the play as his suppression at the beginning of the play is non-existent by the end; this is symbolised by his cross-dressing and effeminate character displayed in public. I think Pentheus’ suppression of his bisexuality and sexual attraction in society is part of his downfall and his reluctance to reveal his effeminate character results in his peripeteia.

At the beginning of the play, Pentheus’ identity is delineated by his attempt to control which returns during his recognition scene before his death. The bacchants symbolise Pentheus’ lack of control throughout the play, as they are never caught and therefore Pentheus never gains control. The bacchants further personify a reversal of societal norms, where women are in control instead of men. In response, Pentheus attempts to assert control but his effeminate character combined with his weak personality as a result of his inability to command power leads to his eventual death. Therefore, Pentheus’ identity is exemplified by the multiple power struggles he faces: commanding the bacchants, the city, the foreigner and suppressing his desire to dress as a woman, all of which he fails to do so.

I think Pentheus is attracted and intimidated to the idea and the appearance of the unknown, regardless of gender, these are characters and appearances that do not fit into the category of societal norms. Firstly, Pentheus’ attraction to the bacchants as characters categorised as part of the unknown is based on the bacchant’s gender, ability to control and their assertion of power. Pentheus is both fascinated and intimidated by his obsession with the bacchants, as they represent everything Pentheus does not, powerful and effeminate.

Furthermore, Pentheus attempts to suppress his effeminate side, by stating commands evoking his masculinity and has little to no control and power over Dionysus. The bacchants are not just women, they are women behaving abnormally and therefore represent the unknown. As a result, Pentheus becomes fascinated with them, and sexualises them as he is consciously aware they symbolise his desire. This sexualisation is exemplified by his craving attitude to watch them from afar in a characteristically voyeur way.

Moreover, A.J. Podlecki writes “Pentheus’ true nature” is that of a “voyeur” (154), which I agree with, however, I think Pentheus’ idea is more complex than simply labelling him as a peeping tom. Pentheus certainly conforms to the category of being a voyeur, but his fascination of watching the bacchants in a stereotypical voyeuristic way is part of two concept. Firstly, Pentheus does sexualise them which makes it easy to label him as voyeur. But secondly, he is fascinated by the bacchants, as he relates to their effeminate nature which he unconsciously suppresses. Therefore, Pentheus’ obsession with the unknown, regardless of gender, represents his sexuality as part of his identity. Consequently, Pentheus is attracted to the unknown as he himself, unknowingly, fits into the category of the unknown, being an effeminate man in a society that refuses to accept effeminate, bisexual men.

Secondly, Pentheus’ description of Dionysus , the unknown traveller, is based on rumours he has heard including “fragrant golden curls”, “the flush of wine in his complexion”, “in his eyes he has the charms of Aphrodite” and “he escorts young women, luring them with the prospect of his joyous mysteries” (133). The references to Dionysus’ hair, appearance and Aphrodite evokes Pentheus’ immediate attraction by his added sexualising of Dionysus’ appearance. Additionally, the idea of “luring” (133) connotes temptation and seduction that Pentheus is fascinated by and the reference to “mysteries” (133), whilst it does refer to the mysteries of Dionysus, it can also be considered to create an ambiguous tone as there is not a lot of information or historical evidence regarding the mysteries.

Whilst I think Pentheus’ identity is the most significant in Euripides’ Bacchae, Dionysus’ character is equally as complex and ambiguous as Pentheus’. Dionysus’ character is epitomized by the polar opposite values he symbolises. Rutherford sums this idea up by stating “He is a bringer of joy and celebration, but also the cause of violence and madness” (122). Rutherford continues by stating “Even the gift of wine is two-edged” and “he is a god of inspiration and intoxication in every form” (122). These binary opposites are important to Euripides’ Bacchae as Dionysus’ identity is fragmented throughout the play, he is one character to Pentheus and another to his loyal bacchants. Firstly, Dionysus’ manipulative nature is best exemplified by his decision to disguise himself in a specific disguise that Pentheus is inherently and unconsciously attracted to, as a result of Pentheus’ refusal to worship and acknowledge Dionysus. Dionysus’ scheming character seems especially cruel in his decision to emotionally, mentally, and ultimately physically torture Pentheus.

Secondly, the other part of Dionysus’ fragmented character is embodied by the futility and ambivalent nature of his disguise. Dionysus’ decision to disguise himself is so that he can “make my godhead plain for mortal men to see” (128). However, this seems contradictory as the connotations of disguise is to remain unseen which contrasts with Dionysus’ decision to reveal himself to the city of Thebes. This is further explored by Dionysus’ first appearance in Thebes where he is labelled as “the stranger” (?) and consequently he is never considered to be undetectable. If anything, Dionysus is noticed more for his disguise and therefore, he did not disguise himself to be undetectable, but instead, to be noticed, specifically by Pentheus. Consequently, Dionysus’ identity is characterised by the polar opposite values he presents, his ambiguous nature and the fragmentation of his character.

In conclusion, identity is illustrated by primarily Pentheus but also Dionysus through the characteristics of ambiguity. Pentheus’ identity is affected and influenced by Dionysus’ manipulative nature of punishing Pentheus. By doing this, Dionysus reveals Pentheus’ bisexuality and his departure from societal norm to the unknown. Both characters are complex in their depiction of identity, but Pentheus’ identity is as a result of Dionysus’ and vice versa. Consequently, identity is a significant feature in determining the structure of the play.

Works Cited

Euripides, Bacchae. Translated by John Davie and introduction and notes by Richard Rutherford. Penguin Classics. 2005.

Gregory, Justina. “Some Aspects of Seeing in Euripides' 'Bacchae'.” Greece & Rome, vol. 32, no. 1, 1985, pp. 23–31. JSTOR, www.jstor.org/stable/642296. Accessed 9 Aug. 2020.

Podlecki, A. J. “INDIVIDUAL AND GROUP IN EURIPIDES' BACCHAE.” L'Antiquité Classique, vol. 43, 1974, pp. 143–165. JSTOR, www.jstor.org/stable/41650023. Accessed 9 Aug. 2020.