a cura di
Alessandra Coppola
Caterina Barone Monica Salvadori
Volume realizzato con il contributo del PRAT 2013, Università di Padova, Gli
oggetti sulla scena teatrale ateniese: funzione, rappresentazione, comunicazione
(responsabile scientifico prof. A. Coppola)
© 2016 Cleup sc
“Coop. Libraria Editrice Università di Padova”
via G. Belzoni 118/3 – Padova (t. 049 8753496)
www.cleup.it - www.facebook.com/cleup
inDiCe
introDuzione 7
Alessandra Coppola, Caterina Barone, Monica Salvadori
APPENDICE
FranCesCo puCCio
Gli oggetti nelle tragedie superstiti 305
moniCa BaGGio
Gli oggetti tra testo, teatro e immagini. Identità, ruoli, statuti 393
BiBlioGraFia 551
Dressing for Dionysus 57
melissa mueller
1
For images of Dionysus and his worshipers, C. Gasparri, in LIMC 3, 1986, s. v.
Dionysos, pp. 414-514; e. simon, Early classical Vase-Painting, in Greek Art. Archaic
into Classical. A Symposium Held at the University of Cincinnati, April 2-3, 1982,
Edited by C. G. Boulter, Leiden 1985, pp. 66-82; T. H. Carpenter, Dionysian Imagery
in Archaic Greek Art: Its Development in Black-Figure Vase Painting, Oxford 1986;
iD., On the Beardless Dionysus, in Masks of Dionysus, Edited by Thomas H. Carpenter
and Christopher A. Faraone, Ithaca – London 1993, pp. 185-206; C. isler-KerénYi,
Dionysos in Classical Athens: An Understanding through Images, Translated by Anna
Beerens, Leiden 2015.
2
Carpenter, On the Beardless Dionysus cit., pp. 187-200.
58 Melissa Mueller
3
E.g. Carpenter, Ivi cit.; iD., Dionysian Imagery in Fifth-Century Athens, Oxford
1997; isler-KerénYi, Dionysos in Classical Athens cit., pp. 166-177 on the youthful
Dionysus of the east pediment of the Parthenon whose gaze is turned toward the
theater.
4
A. piCKarD-CamBriDGe, The Dramatic Festivals of Athens, 2nd Edition Revised by
John Gould and D. M. Lewis, Oxford 1968, p. 60 n. 1 cites IG II2.1006 (122-121 B.C.)
to distinguish the eisagôgê of the statue from the pompê culminating in the sacrifice
of a bull for Dionysus.
5
piCKarD-CamBriDGe, Ivi, pp. 59-63, with reference to Paus. 1, 29, 2 on the temple
near the Academy, built perhaps for the sole purpose of offering sacrifice to Dionysus
on his way to the theater (
). For a reconstruction of
the route of this procession, see also Ch. sourvinou-inwooD, Tragedy and Athenian
Religion, Lanham – Boulder – New York – Oxford 2003, pp. 89-99, who identifies
the eschara mentioned in IG II2 as the Altar of the Twelve Gods in the Agora; see S.
GolDhill, The Great Dionysia and Civic Ideology, in Nothing to Do with Dionysus,
Athenian Drama in Its Social Context, John J. Winkler and Froma I. Zeitlin Editors,
Princeton 1990, pp. 97-129 on the City Dionysia more generally.
Dressing for Dionysus 59
. It is useful to keep in
mind that, as a term, xoanon «draws attention to the worked nature of the object’s
60 Melissa Mueller
medium» (V. platt, Facing the Gods: Epiphany and Representation in Graeco-Roman
Art, Literature and Religion, Cambridge 2011, p. 92); its smooth surface may have
been appropriate for depicting Dionysus’ youthfulness.
11
Ch. seGal, The Dionysiac Poetics of Euripides’ Bacchae, Princeton 1997, pp. 215-
271. The bibliography here is vast, but discussions that offer a substantially different
focus from or critique of Segal include a. F. h. Bierl, Dionysos und die griechische
Tragödie: Politische und ‘metatheatralische’ Aspekte im Text, Tübingen 1991, pp. 203-
218; G. W. DoBrov, Figures of Play: Greek Drama and Metafictional Poetics, Oxford
2001, pp. 69-85; G. raDKe, Tragik und Metatragik: Euripides’ Bakchen und die
moderne Literaturwissenschaft, Berlin 2003, pp. 278-284; C. thumiGer, Hidden
Paths: Self and Characterization in Greek Tragedy: Euripides’ Bacchae, London
2007, pp. 186-189.
12
J. l. CalDerwooD, Shakespearean Metadrama, Minneapolis 1971, p. 4.
13
Cited by seGal, The Dionysiac Poetics of Euripides’ Bacchae cit., p. 216 n. 1.
Dressing for Dionysus 61
14
On the agency of tragic costume, see r. wYles, Towards Theorising the Place of
Costume in Performance Reception, in Theorising Performance: Greek Drama, Cultural
History and Critical Practice, Edited by Edith Hall and Stephe Harrop, London 2010,
pp. 171-180; eaD., Costume in Greek Tragedy, London 2011; M. mueller, Objects as
Actors: Props and the Poetics of Performance in Greek Tragedy, Chicago 2016.
15
Poetics 1450b 18-20 on the art of the «prop-maker» (skeuopoiou technê) being sepa-
rate from that of the poet.
16
The metatheatrical coloring of at Bacchae 180 and 915 comes close to comic
uses of the term. See N. slater, Spectator Politics: Metatheatre and Performance in
Aristophanes, Philadelphia 2002, p. 16, noting that at Frogs 108, for example,
is used of Dionysus’ Heracles costume.
62 Melissa Mueller
Although I have been abroad, I hear of the new evils in this city: that
our women have left their homes in fake bacchic revelry and are rushing
around on the thick-shaded mountains honoring the new god Dionysus,
whoever he is, with choral dancing17.
17
I adapt this and other translations from Euripides, Bacchae. With an Introduction,
Translation and Commentary by Richard Seaford, Warminster 1996.
Dressing for Dionysus 63
«How do I look then? Do I not have the same stance as Ino or Agave,
my mother?» (vv. 925-926). Yes, the god confirms, «in seeing you I
seem to be seeing them in person.» (v. 927). The maenad-costume
visually transforms Pentheus into a double of his mother, but it also
implants in him the desire to be mistaken for a woman. The mimesis is
twofold, the outward appearance triggering an inner transformation.
Props instill mimetic desire. They also foreground the question of
authenticity: what is “real” and what is “fake”? The charge of fakery
that Pentheus levels against the Theban women is implicit also in his
scorn for his grandfather, Cadmus, and for the seer Teiresias. These
two old men present a ridiculous spectacle, with their ivy-clad hair
and thyrsoi, but they are undeterred by Pentheus’ mockery. Fools or
not, they will dance for the god, and they have dressed for the occa-
sion. Cadmus claims, after announcing himself as «wearing the god’s
costume» (v. 180: ), that he will never tire of
pounding the thyrsus into the ground (vv. 187-188). The god’s props
have restored his youthful vigor. For Pentheus, there is something so
jarring about these two old men dressed in fawn skins dancing and
shaking the thyrsus that he assumes they have lost their mind (vv. 251-
252: ).
Props, then, induce madness. As soon as Pentheus is properly cos-
tumed, his perceptions change. He strives for ritual authenticity, see-
ing visual and gestural conformity as the means to this end. In asking
the Stranger, «should I hold the thyrsus in my right hand or this one
so I seem to be more like a bacchant?» (vv. 941-942:
) Pentheus
reveals his concern with getting the details just right, so that anyone
seeing him would be fooled. Dionysus instructs him in the proper
protocol: «You must raise the thyrsus in your right hand and lift it
together with your right foot; I praise the fact that you have changed
your mind» (vv. 943-944:
). Dionysus takes Pentheus’s ques-
tion as confirmation of his «altered mind», but
is a very charged, almost punning expression: Pentheus may have
«changed his mind», but it will soon become clear that he also has a
64 Melissa Mueller
Pentheus assumes that the Stranger is taunting him with the for-
biddenness of the rites so that he will be more eager to know about
them. He attributes to his interlocutor a kind of counterfeiting. A few
hundred lines later, however, Pentheus agrees to dress up as what he
is not, so that he can spy on those same rites. One of the most unnerv-
ing paradoxes of the play is that the mimesis that brings Pentheus
closer to the god constitutes the transgression for which he will be
punished. Transgressive mimesis allows Pentheus to see the god and
in turn sets the scene for Dionysus’ revenge, which assumes a mimetic
form as well – for Pentheus will be dismembered and reconstituted as
a double of the god. Both crime and punishment rely strongly on the
language of mimesis, particularly its visual register.
The Chorus begins their fourth stasimon goading the dogs of Lyssa
to rouse the thiasos of Theban women against Pentheus (vv. 977-981):
18
Thanks to Mario Telò for clarifying this point.
Dressing for Dionysus 65
19
From the feet up to the top of the head creeps a sparagmos, the goad of
Lyssa, I mean the sting of a scorpion.
19
Lobeck’s emendation to is printed by Radt.
66 Melissa Mueller
Dionysus, it is now in your hands – for you are not far away. Let us punish
him. First, stand him out of his mind, injecting a light madness, since as
long as he is in his right mind he will be unwilling to don female dress.
But once he is driven out of his senses, he will dress himself.
20
I owe this observation to Mario Telò. There are similar punning plays on the mean-
ing of habrosunê and truphê at 968-970.
21
Euripides, Bacchae, Edited with Introduction and Commentary by E. R. Dodds,
Oxford 19602, p. 180.
22
wYles, Costume in Greek Tragedy cit., pp. 67-69.
23
See also FoleY, The Masque of Dionysus cit., p. 113 n. 11 and Bierl, Dionysos und
die griechische Tragödie cit., p. 207.
Dressing for Dionysus 67
24
m. l. west, The Orphic Poems, Oxford 1983, frr. 34, 35 and 214. Summary given by
T. Gantz, Early Greek Myth: A Guide to the Literary and Artistic Sources, Baltimore
1993, p. 743.
25
west, Ivi, fr. 35.
26
J. emiGh, Masked Performance: The Play of Self and Other in Ritual and Theatre,
Philadelphia 1996, p. 7.
27
D. wiles, Mask and Performance in Greek Tragedy, Cambridge 2007, p. 1.
28
Studies by, for example, FoleY, The Masque of Dionysus cit., pp. 107-133; J.-
p. vernant, The Masked Dionysus of Euripides’ Bacchae, in Myth and Tragedy in
Ancient Greece, by Jean-Pierre Vernant and Pierre Vidal-Naquet, Translated from
French by Janet Llyod, New York 1988, pp. 381-412; seGal, The Dionysiac Poetics
68 Melissa Mueller
31
The images of maenads mixing and offering wine to Dionysus on these vases have
been somewhat controversially linked to the Lenaia festival in Athens, as originally
proposed by A. FriCKenhaus, Lenäenvasen, Berlin 1912. See Frontisi-DuCroux, Le
dieu-masque cit., pp. 42-52 on the evolution of the debate between those connecting
the images to the Lenaia and those arguing for an affiliation with the Anthesteria.
32
Frontisi-DuCroux, Ivi, p. 47 n. 43, citing E. simon, Ein Anthesterien-Skyphos des
Polygnotos, «AK» 6, 1963, p. 18 n. 10; eaD., Die Götter der Griechen, München 1969,
p. 276 and eaD., Ein nordattischer Pan, «AK» 19, 1976, pp. 19-23, especially 21.
D. T. steiner, Images in Mind: Statues in Archaic and Classical Greek Literature and
Thought, Princeton 2001, p. 84 suggests, on the basis of a fragment of Euripides’
Antiope (F203 Kannicht), that the Eleutherians worshipped Dionysus as a pillar
draped in ivy and «if this image was brought to Athens, then the city would join the
many other communities and individuals who resisted the new deity, deceived by his
unfamiliar and outlandish external appearance». s. Bettinetti, La statua di culto nella
pratica rituale greca, Bari 2001, p. 192 strikes a more cautious note, however, arguing
that the evidence boils down to a single mention of in a fragment of Euripides’
Antiope; she argues, citing I. romano, Early Greek Cult Images, Ph.D. Dissertation
submitted to the University of Pennsylvania, 1980, pp. 75-78, instead that the statue
carried in the procession must have been an anthropomorphic xoanon, small enough
to be transported: «è più ragionevole pensare che si trattasse di una scultura antro-
pomorfica del dio, uno xoanon di piccola taglia che poteva essere trasportato» (193).
On xoana, see also A. A. Donohue, Xoana and the Origins of Greek Sculpture, Atlanta
1988 and platt, Facing the Gods cit., pp. 92-100.
33
C. Chaston, Tragic Props and Cognitive Function: Aspects of the Function of Images
in Thinking, Leiden 2009, p. 184
34
C. m. KalKe, The Making of a Thyrsus: The Transformation of Pentheus in Euripides’
Bacchae, «AJP» 106, 1985, pp. 409-426, especially 410: «Euripides creates a Pentheus
who is transformed visually into a symbol of Dionysus. Pentheus becomes the thyrsus
of the god: first he is crowned with long hair and a mitra, then he himself crowns the
tip of a fir tree raised by the maenads on the mountain, and finally he becomes the
literal crown of the thyrsus carried by his mother».
70 Melissa Mueller
Scene, to Pentheus’ hair and his mitra35; just as the fennel rod must
be crowned with ivy in order to become a veritable thyrsus, Pentheus
himself eventually comes to «crown» the fir-tree, becoming a «magni-
fied thyrsus» (p. 415).
Kalke’s interpretation illuminates the redoubling effect between
persons and things in the play. By the end, worshippers have become
their props and the props – the thyrsus in particular – are manifes-
tations of the god. Ultimately, however, I find more compelling the
suggestion, which Chaston develops, that Pentheus’ final form (his
mask-head on Agave’s thyrsus) is meant to recall images of the god
himself as he is depicted, for example, in the Lenaea vases. One weak-
ness of Kalke’s reading is that it reduces the actor’s mask to so much
garlanding: there is a difference between a figurative mask and the ivy
that typically crowns the maenad’s fennel rod. Nevertheless, Kalke is
right to emphasize that the thyrsus is a magical conduit for the god’s
power, itself crossing and unsettling the boundaries between object,
person, and divinity.
It is also worth reiterating that the statue of Dionysus that was
originally processed from Eleutherae to Athens at the start of the festi-
val is referred to by Pausanias as a xoanon, a wooden image. This cre-
ates a kind of brutal symmetry for the punishment Dionysus inflicts
on Pentheus, for in death, Pentheus is forced to become Dionysus.
The Bacchae’s final move of transforming Pentheus into the cult statue
of Dionysus Eleuthereus collapses the metatheatrical triangulation of
the Robing Scene by suggesting that there are no longer three dif-
ferent characters (i.e., Dionysus-on-stage, Pentheus, and Dionysus-
in-the-theater). These three discrete individuals have become one.
Everything and everyone is, by the end, Dionysus. With his head/
mask on a thyrsus pole, Pentheus is an authentically realized version
of the god. Moreover, the Stranger himself steps out of his mortal
disguise to assume (divine) responsibility for everything that has un-
folded under his watch. It is the material transformation of mortal
into god (of Pentheus into a statue), and of god into mortal (Dionysus
into the Stranger), that the play’s material world – its props and cos-
tumes – makes all too visibly real for its spectators. As such, these
tragic objects posit a tantalizing and tangible link between the worlds
of myth, theater, and ritual, as the action climaxes with a shocking but
theatrically stunning epiphany of Dionysus.
35
KalKe, Ivi, p. 414.