132 Sentences With "bacchic" | Random Sentence Generator

The Englishman, wary of being impolite, accepts a glass of Château Pétrus, not a wine that you should ever spurn, and an invitation to a night of Bacchic misrule.

Still derided for hosting Bacchic "Bunga Bunga" parties while running the country, Mr Berlusconi is due to go on trial, charged with bribing his young female guests to perjure themselves in earlier proceedings.

The only constant, perhaps, is that alcohol is a disruptive force that by its very nature defeats efforts to control it, from ancient Roman bans on the debauched Bacchic rites in the first century B.C. to the great American experiment, Prohibition.

Beethoven doesn't introduce the dynamic "fff" — an indicator more hyperbolic than practical — until the bacchic finale of the Seventh Symphony; and I really didn't hear it until then, instead of the usual sites of super-loudness like the "Eroica" or the Fifth in most performances.

Then up the stairs is Pagan Paradise, where there are two sculptures, Adriaen de Vries's "Bacchic Man: Lomazzo Personifying the Accademia della Val di Blenio" (1578-80) and Ray's "Golden jewelry" (not dated), representing a half-eaten crab apple, a tiny work originally made as a private gift for his wife, along with Ray's drawing "Godflower" (2011).

Hera encourages the Hydaspes to drown the Bacchic troops as they cross the river. The Bacchic army starts to cross the Hydaspes using strange means of navigation. The Hydaspes is upset because his waters are fouled with blood and dead bodies and because of how easily the Bacchic troops cross it.

Marble relief of a Maenad and two satyrs in a Bacchic procession. AD 100, British Museum, London. The central religious cult of Dionysus is known as the Bacchic or Dionysian Mysteries. The exact origin of this religion is unknown, though Orpheus was said to have invented the mysteries of Dionysus.

Smith (1870) Dictionary of Greek and Roman Geography Vol 1 p. 1026 The Argonautica (line 78) implies Orpheus is king of Bistonian Pieria. "From the worship of Bacchus (Dionysus) in Thrace, Bacchic women are called Bistonides." Similarity in some Latin poems, Edonis are Bacchic women from the Thracian tribe Edoni.

A Bacchic Roman puteal (wellhead) of the Neo-Attic style, inspired by Hellenistic art. Relief shows figures a Bacchic procession, with Hercules (in image), who, inebriated, wears the skin of the Nemean Lion and carries his olivewood club. In ancient Roman religion, a Bidental was a sacred spot erected on the location where lightning had struck. Any remains and scorched earth were to be burned in a hole at the location by priests called bidentales.

Bacchic procession, late 1st-century CE. A puteal (Latin: from puteus (well) — plural: putealiaVenetian Wellheads @ Venipedia. Accessed May 25, 2012.) is a classical wellhead built around a water well's access opening.

Fritz Graf and Sarah Iles Johnston, Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (Routledge, 2007) p. 26 online p. 28 online, and pp. 32, 44, 46, 162, 214.

In the Orphic religion, Erikepaios (; ) was a title for the god Phanes, mentioned in Orphic poetry and the associated Bacchic mysteries, a non-Greek name for which no certain interpretation has been found.

1629) and Jusepe de Ribera in his Drunken Silenus choose a genre realism. Flemish Baroque painting frequently painted the Bacchic followers, as in Van Dyck's Drunken Silenus and many works by Rubens; Poussin was another regular painter of Bacchic scenes.Bull, 233–235 A common theme in art beginning in the sixteenth century was the depiction of Bacchus and Ceres caring for a representation of love – often Venus, Cupid, or Amore. This tradition derived from a quotation by the Roman comedian Terence (c.

This figure may well be a secondary addition to the lid; and the lid, in 4th century style, is certainly a secondary addition to the bowl. A set of four bowls with wide, horizontal rimsPainter 1977, nos. 5–8 represent a later development of the flanged bowl form. The rims, or flanges, are edged with large beads, and have low-relief decoration that once more follows the traditional pagan, Bacchic theme, with pastoral scenes, numerous animals, natural and mythical, and Bacchic masks.

13, quotes the non-extant play Palamedes which seems to refer to Thysa, a daughter of Dionysus, and her (?) mother as participants of the Bacchic rites on Mount Ida, but the quoted passage is corrupt.

In Euripides' play, The Bacchae, she and her sisters were driven into a bacchic frenzy by the god Dionysus (her nephew) when Pentheus, the king of Thebes, refused to allow his worship in the city. When Pentheus came to spy on their revels, Agave, the mother of Pentheus and Autonoë's sister, spotted him in a tree. They tore him to pieces in their Bacchic fury.Hyginus, Fabulae 184 The murder of Pentheus was brought by Dionysus as retribution for Pentheus's lack of piety for the gods.

Johns & Potter 1983, catalogue no. 67 Bacchic iconography is obvious in the group, and was traditional in Roman culture, but in the late Roman period, many Bacchic motifs were adopted and given new interpretations by Christians. Nevertheless, at this date, the end of the 4th century AD, there was no obstacle to placing unequivocally Christian symbols and inscriptions on personal possessions, so that their absence here is noteworthy. The openly, and probably exclusively, pagan iconography remains one of the most interesting and unusual aspects of the assemblage.

Crowell's Handbook of Classical Mythology. New York: Thomas Crowell Company, 1970, p. 335. Apollodorus writes that he, like his cousin Pentheus, was ripped apart by women in a bacchic frenzy for disrespect to the god Dionysus.Bibliotheca 3.5.5.

Double Edge's name in part comes from the double-edged axe known as the labrys, which was used in Bacchic sacrifices in ancient Greek cult-worship. Double Edge's first production, Rites, was based on Euripides's The Bacchae.

Lycurgus attacking the nymph Ambrosia. Book 20 – The end of the games brings the mourning to an end. In a dream, Eris drives Dionysus to war. Methe, Botrys and their servant Pithos ("Wine-jar") join the Bacchic forces.

In Greek religion, the staff was carried by the votaries of Dionysus. Euripides wrote that honey dripped from the thyrsos staves that the Bacchic maenads carried.Euripides, Bacchae, 711. The thyrsus was a sacred instrument at religious rituals and fêtes.

In the absence of Dionysus, Deriades and Morrheus rout the Bacchantes. The Bacchic army panics. Book 33 – A Grace tells Aphrodite about Dionysus' madness and of how Morrheus is pursuing the Bacchante Chalcomede. Aphrodite sends Aglaia to fetch Eros, who is playing kottabos with Hymenaeus.

Dickie, M.W. 1995. The Dionysiac Mysteries. In Pella, ZPE 109, 81-86. Previously considered to have been a primarily rural and fringe part of Greek religion, the major urban center of Athens played a major role in the development and spread of the Bacchic mysteries.

Before the importation of the Greek cults, Liber was already strongly associated with Bacchic symbols and values, including wine and uninhibited freedom, as well as the subversion of the powerful. Several depictions from the late Republic era feature processions, depicting the "Triumph of Liber".

Pentheus soon banned the worship of the god Dionysus, who was the son of his aunt Semele, and did not allow the women of Cadmeia to join in his rites. An angered Dionysus caused Pentheus' mother Agave and his aunts Ino and Autonoë, along with all the other women of Thebes, to rush to Mount Cithaeron in a Bacchic frenzy. Because of this, Pentheus imprisoned Dionysus, thinking the man simply a follower, but his chains fell off and the jail doors opened for him. Dionysus, disguised as a woman, lured Pentheus out to spy on the Bacchic rites, where Pentheus expected to see sexual activities.

Comparison of Dionysus' deeds with those of Perseus, Minos, and Heracles, concluding that Dionysus is better than the heroes. Return to the main narrative: the Ganges, Deriades and the Indian people are scared by a number of Bacchic miracles. Dionysus is angry because Hera is delaying his victory.

Aurel Sasu (ed.), Dicționarul biografic al literaturii române, vol. II, p. 153. Pitești: Editura Paralela 45, 2004. Most of his poems are erotic and bacchic in the style of Anacreon; two exceptions are an ode for the opening of Gheorghe Lazăr's school and a vaguely Voltairean ode to mankind.

Hydaspes surrenders and Dionysus draws back his torch. The Bacchic army finishes crossing the river only to find that Deriades has placed his troops on the other bank of the river. The gods come down from the Olympus to save their protégés and the army settles in the hills nearby.

This practice served not only as a reenactment of the infant death and rebirth of Bacchus, but also as a means by which Bacchic practitioners produced "enthusiasm": etymologically, to let a god enter the practitioner's body or to have her become one with Bacchus.Russell, Bertrand. History of Western Philosophy.Routledge, 1996, p.

Author of poems Król Salomon (1887), Wybór poezji (1899), novels Pamiętnik starego parasola (1884), Wilcze plemię (1885), short stories and humoresques. Selection of satirical works, feast and Bacchic songs Z teki Chochlika (vol. 1–2; 1882). Selection of works with the same title, selected by Julian Tuwim, published posthumously in 1953.

The krater, which stands at 78 cm. in height, is a marble adaptation of a type of metal vessel known from the late fifth century BCE (e.g. The Derveni Krater). It is decorated with a relief depicting Artemis and Hermes standing by an altar and presiding over a Bacchic procession of several maenads.

Anthony Corbeill, Nature Embodied: Gesture in Ancient Rome (Princeton University Press, 2004), pp. 101–103Younger, pp. 35–36Fritz Graf and Sarah Iles Johnston, Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (Routledge, 2007), pp. 128–129. Perhaps also a reference to the "Milky Way" as a path to the heavens.

Ornithogalum thyrsoidesThyrsoides: with a flowering spike like a Bacchic thyrsus. is a bulbous plant species that is endemic to the Cape Province in South Africa. It is also known by the common names of chinkerinchee or chincherinchee, star-of-Bethlehem or wonder-flower. It produces long-lasting flowers prized as cut flowers.

Collecting cantharides, 19th century. Lytta vesicatoria is a slender, soft- bodied metallic and iridescent golden-green insect, one of the blister beetles. It is approximately wide by long. The generic and specific names derive from the Greek λύττα (lytta) for martial rage, raging madness, Bacchic frenzy, or rabies, and Latin vesica for blister.

However, the story indicates the existence of such activities during his lifetime and his preference for such things and was praised for its wit, which was graceful and elegant. Rewani's Ishret-name was the first Ottoman Turkish poem with a bacchic theme, which inspired the saki-names genre that became popular a century later.

Dionysus sets his army in motion until they encounter the first Indian contingent, led by Astraeis. Hera deludes Astraeis to go to battle against the Bacchic troops. Maenads and satyrs massacre the Indian troops until Dionysus takes pity of them and turns the waters of the neighbouring lake Astacid. The Indians try wine for the first time.

A distinctive collocation that occurs a few times in Macedonian commemoration is an inscription prescribing the Rosalia accompanied by a relief of the Thracian Horseman.Kloppenborg and Ascough, Greco-Roman Associations, pp. 327–329. Some scholars think that customs of the Rosalia were assimilated into Bacchic festivals of the dead by the Roman military, particularly in Macedonia and Thrace.

The Bacchic Cassone was a 1505-1510 panel painting by Cima da Conegliano, produced as the front panel of a decorated cassone. It is now split into four portions, one in a private collection, two in the Philadelphia Museum of Art (Bacchant and Drunken Silenus) and one in the Museo Poldi Pezzoli in Milan (Marriage of Bacchus and Ariadne).

Sacrifice to Bacchus. Oil on canvas by Massimo Stanzione, c. 1634 Johann Wilhelm Schutz In Rome, the most well-known festivals of Bacchus were the Bacchanalia, based on the earlier Greek Dionysia festivals. These Bacchic rituals were said to have included omophagic practices, such as pulling live animals apart and eating the whole of them raw.

Entry on "Alder," Encyclopedia of Indo-European Culture (Taylor & Francis, 1997), p. 11; Xavier Delamarre, Dictionnaire de la langue gauloise (Éditions Errance, 2003). Celebrants of the Bacchic rites wore a wreath of poplar leaves to honor the chthonic aspect of Dionysus.Alberto Bernabé and Ana Isabel Jiménez San Cristóbal, Instructions for the Netherworld: The Orphic Gold Tablets (Brill, 2008), pp.

The orgia that explained the role of the Titans in Dionysos's dismemberment were said to have been composed by Onomacritus.Pausanias 8.37.5; Fritz Graf and Sarah Iles Johnston, Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (Routledge, 2007), p. 70. Greek art and literature, as well as some patristic texts, indicate that the orgia involved snake handling.

Although Dionysius suggests that both the war dances and the Bacchic dancing were in imitation of the Greeks, the armed dances had a Roman precedent in the Salian priests, who danced with sword and shield, and the role of the satyrs seems based on Etruscan custom.Wiseman, "Satyrs in Rome?" p. 11, note 86; Slater, "Three Problems," p. 203.

34–35 (Pharsalos, Thessaly, > 350–300 BC), and pp. 40–41 (Thessaly, mid-4th century BC) online. Other gold leaves offer instructions for addressing the rulers of the underworld: > Now you have died and now you have come into being, O thrice happy one, on > this same day. Tell Persephone that the Bacchic One himself released > you.

The opera-ballet Le chêne et le tilleul (after La Fontaine) of 1960 is the climax of the composer's output with harmonies in the style of Debussy contrasting with the Bacchic frenzy of wild dances with pungently rhythmic, virile accompaniment.Hoérée A, Kaye N. Désiré-Émile Inghelbrecht. In: The New Grove Dictionary of Opera. Macmillan, London and New York, 1997.

This Bacchic link, and the building's proximity to the baths, port and fort, has been said by some to suggest that the Painted House was once a brothel. However, this is entirely circumstantial evidence (frescos in brothels tended to be more explicit, as in those at Pompeii, and Bacchic motifs are very commonly found in simply domestic areas) and so most academics believe the rooms are too small to have supported this line of work and instead support its designation as a mansio. Other features of the Painted House include the Dover Gems, a medieval cut in the floor allowing the hypocaust system to be viewed and a medieval skeleton found in the nearby St Martin-le-Grand church, nicknamed "Fred" by the volunteers who keep the museum running.

It banned the former Bacchic cult organisations. Each meeting must seek prior senatorial approval through a praetor. No more than three women and two men were allowed at any one meeting, Those who defied the edict risked the death penalty. Bacchus was conscripted into the official Roman pantheon as an aspect of Liber, and his festival was inserted into the Liberalia.

He also publicly took part in Bacchic rites, to the anger of other Scythian chiefs. According to Herodotus, it was because of these unconventional traits that the Scythians rebelled against Scyles, and he was forced to flee from his homeland. He escaped to the Thracian king Sitalces. However, he was pursued by his brother Octamasadas, who raised an army and marched on Thrace.

Specific rites were required to become a member. A key feature that helps to identify these scenes as Bacchic is the depiction of maenads, the deity's female followers. These devotees are often shown dancing with swirling drapery on painted Greek pottery from the sixth century BC onward,Gantz, Timothy. Early Greek Myth, Volume I. The Johns Hopkins University Press, 1993.

The overpainting transformed the image of St. John into one of a pagan deity, by converting the long-handled cross-like staff of the Baptist to a Bacchic thyrsus and adding a vine wreath. The fur robe is the legacy of John the Baptist, but has been overpainted with leopard-spots relating, like the wreath, to Bacchus, the Roman god of wine and intoxication.

This painting dates from his early years in Rome and shows the realism and strong chiaroscuro typical of Caravaggio and his followers.Pietro Paolini, Allegory of the Five Senses at The Walters Art Museum The Concert His works often took direct inspiration from Caravaggio's compositions. Examples are two concert paintings, The Concert (c. 1620-1630, formerly in the J. Paul Getty Museum, Malibu) and the Bacchic Concert (c.

So a modern interpretation can be a little more complicated than just simple duality. This opposition is mostly an Athenian one. It might be surmised that things were different at Thebes, which was a center of aulos-playing. At Sparta—which had no Bacchic or Korybantic cults to serve as contrast—the aulos was actually associated with Apollo, and accompanied the hoplites into battle.

Men were forbidden to becoming Bacchus' priesthood. Despite their official suppression, illicit Bacchanals persisted covertly for many years, particularly in Southern Italy, their likely place of origin.Beard, M., Price, S., North, J., Religions of Rome: Volume 1, a History, illustrated, Cambridge University Press, 1998, pp. 93–96. The reformed, officially approved Bacchic cults would have borne little resemblance to the earlier crowded, ecstatic and uninhibited Bacchanalia.

Unaware that his strange prisoner is a god, Pentheus refuses to even consider the possibility that Bacchic worship has a place in the modern world. Unable to endure such an affront, the god Dionysus casts a spell over the young king and leads him into the mountains, where he is ultimately torn limb from limb by the ecstatic worshippers, whose number now includes Pentheus' own mother, Agave.

Tomb and monument of Ilaria del Carretto by Jacopo della Quercia, c. 1413 (plaster cast in Moscow) Putti are a classical motif found primarily on child sarcophagi of the 2nd century, where they are depicted fighting, dancing, participating in bacchic rites, playing sports, etc. Putto on the ceiling of Stirling Castle. The putto disappeared during the Middle Ages and was revived during the Quattrocento.

These carnivals were bacchic festivals devoted to the worship of Dionysus, where eternal recreation, fertility and regeneration of nature during spring were exalted. They were characterised by the dionysian orgy of those initiated to divine worship, by which it was believed achieved catharsis of the soul, spiritual renewal and the exaltation caused by perfection of unearthly life. The carnival of today preserved relics of the bacchic perception of life such as the “tripsimata”, songs of rhyming couplets that are a hymn to the genitals and the “im’ tzouromata” of those who “archionti” (the word archiomi, is derived from the ancient Greek verb “orchoumai” which means to participate in an orcho (pool), to dance, to take part in the circle of those initiated to the Dionysian worship, whose bodies were painted with tartar, the residue of the grapes and wine, which were red). The Carnival of Agiasos is a vivid cultural symbol.

30; Paul Zanker and Björn C. Ewald, Living with Myths: The Imagery of Roman Sarcophagi (Oxford University Press, 2012), p. 102 et passim; Newby, "In the Guise of Gods and Heroes," pp. 201–205. In Vergil's Aeneid, purple flowers are strewn with the pouring of Bacchic libations during the funeral rites the hero Aeneas conducts for his dead father.Vergil, Aeneid 5.77–81; Brenk, Clothed in Purple Light, p. 88.

In addition to the Cretic meter, which consisted of a long-short-long pattern, ancient Greek music had seven other quintuple meters: Bacchic (L-L-S), Palimbacchic (or antibacchic: S-L-L), four species of Paeanic (L-S-S-S, S-L-S-S, S-S-L-S—which is a composite of pyrrhic and trochee—and S-S-S-L), and hyporchematic (S-S-S-S-S).

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. According to some myths, Orpheus, regarded as a prophet of Orphic or Bacchic religion, died when he was dismembered by raging Thracian women.

The Indians see the miracles performed by Dionysus and are tempted to surrender, but Hera deceives their leader Thureus. The Indians try to ambush the Bacchic troops but a nymph warns Dionysus of the impending peril. In the battle Oeagrus, Aeacus, and Erectheus all distinguish themselves. Bacchus in his panther-drawn chariot (3rd-century mosaic from Seville). Book 23 – Dionysus and Aeacus fight the Indians in the river, where most of them drown.

Thureus tells the Indian king Deriades of what has happened. The news of the defeat reaches the Indian people and their morale deteriorates. In the forest, the Bacchic troops celebrate their victory. Leucus sings the story of Aphrodite's weaving contest with Athena and her defeat. Book 25 – The poet invokes the Muse in his second proem, saying that in emulation of Homer he will skip over the first six years of the war.

Other accounts have a treacherous Helen who simulated Bacchic rites and rejoiced in the carnage she caused. Ultimately, Paris was killed in action, and in Homer's account Helen was reunited with Menelaus, though other versions of the legend recount her ascending to Olympus instead. A cult associated with her developed in Hellenistic Laconia, both at Sparta and elsewhere; at Therapne she shared a shrine with Menelaus. She was also worshiped in Attica and on Rhodes.

Orpheus (; Ancient Greek: Ὀρφεύς, classical pronunciation: ) is a legendary musician, poet, and prophet in ancient Greek religion. Ancient Greek sources note Orpheus' Thracian origins.Fritz Graf and Sarah Iles Johnston, Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (Routledge, 2007), p. 167, while taking note of depictions in Greek art, particularly vase painting, that show Orpheus attired as a Greek, often in contrast to those in Thracian dress around him.

A notable use of a danake occurred in the burial of a woman in 4th- century BC Thessaly, a likely initiate into the Orphic or Dionysiac mysteries. Her religious paraphernalia included gold tablets inscribed with instructions for the afterlife and a terracotta figure of a Bacchic worshipper. Upon her lips was placed a gold danake stamped with the Gorgon’s head.K. Tasntsanoglou and George M. Parássoglou, "Two Gold Lamellae from Thessaly," Hellenica 38 (1987) 3–16.

In his warlike paroxysm Lycurgus even attacks the sea and provokes the gods. Book 21 – Lycurgus attacks the Bacchantes a second time, in particular Ambrosia who is metamorphosed into a vine and suffocates Lycurgus with its shoots, while the Bacchantes throng to kill him. Poseidon causes an earthquake, but Hera saves him temporarily until Zeus punishes him turning him into a blind wanderer. While Dionysus is entertained in the halls of Nereus, the Bacchic army is dispirited.

The satyr Pherespondos arrives at the court of the Indian king Deriades and gives him Dionysus' message: he should accept the cult of the vine or face him in battle. Deriades, a son of the river (Jhelum River) dismisses Dionysus' offer of peace. Dionysus leaves the bottom of the sea, joins his troops and prepares for battle. Book 22 – The Bacchic troops arrive at the river Hydaspes, where the trees and animals receive Dionysus with joy.

Book 34 – Morrheus wanders on his own during the night and his servant Hyssacos recognises the signs of love and comforts him. Beginning of a new day: Morrheus nourishes his hope of love, while the Bacchic troops are completely dispirited in the absence of Dionysus. Morrheus attacks the Bacchantes and takes some captives as a gift for Deriades, who sends them to be tortured and killed in various ways. Chalcomede lures Morrheus out of the battle.

Hendrik Wagenvoort, "The Journey of the Souls of the Dead to the Isles of the Blessed," Mnemosyne 24.2 (1971), p. 124; Martin P. Nilsson, "The Bacchic Mysteries of the Roman Age," Harvard Theological Review 46.4 (1953), p. 187. A Greek inscription of 138 AD records a donation for rose-adornment (rhodismos) to the council in Histria, in modern Dobruja, an area settled by the Thracian Bessi, who were especially devoted to Dionysus.Beza, Paganism in Romanian Folklore, p. 43.

25Kraemer, Ross S. "Ecstasy and Possession: The Attraction of Women to the Cult of Dionysus." The Harvard Theological Review, Vol. 72 60 Jan.–Apr. 1979. In Livy's account, the Bacchic mysteries were a novelty at Rome; originally restricted to women and held only three times a year, they were corrupted by an Etruscan-Greek version, and thereafter drunken, disinhibited men and women of all ages and social classes cavorted in a sexual free-for-all five times a month.

Anthony Corbeill, Nature Embodied: Gesture in Ancient Rome (Princeton University Press, 2004), pp. 101–103; Fritz Graf and Sarah Iles Johnston, Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (Routledge, 2007), pp. 128–129. Perhaps also a reference to the "Milky Way" as a path to the heavens. In the Etruscan tradition, the goddess Juno (Uni) offers her breast to Hercules as a sign that he may enter the ranks of the immortals.

There they made libations to Bacchus before the porphyry sarcophagus of Constantina (now in the Vatican Museums), which was considered to be his tomb because of its Bacchic motifs. A list of its members may still be seen in one of this church's side chapels. This practice was finally banned by Pope Clement XI in 1720. Although predominantly made up of Flemish and Dutch artists, a few other members were admitted, including Joachim von Sandrart and Valentin de Boulogne.

In Euripides' play, The Bacchae, Theban Maenads murdered King Pentheus after he banned the worship of Dionysus because he denied Dionysus' divinity. Dionysus, Pentheus' cousin, lured Pentheus to the woods—Pentheus wanted to see what he thought were the sexual activities of the women—where the Maenads tore him apart and his corpse was mutilated by his own mother, Agave. Agave and Pentheus' aunt, Autonoe, tore his limb from limb in a Bacchic frenzy. Roman, L., & Roman, M. (2010).

Bacchus is a 1951 play written by French dramatist Jean Cocteau. His last full-length play, it is set in a small German town in 1523, which is holding a Bacchic carnival. As part of the festivities, the village idiot is declared king for a week, and he suddenly becomes rational "and preaches an anarchic message of love and freedom, which results in his being sentenced to burn at the stake."Arthur King Peters: Jean Cocteau and His World.

The golden age of Jewish poetry in Al-Andalus developed in the literary courts of the various taifas. Like its Arabic counterpart, its production diminished in the 12th century under the rule of the Almoravids and Almohads. In the last part of the 10th century, Dunash ben Labrat revolutionized Jewish poetry in Al-Andalus by bringing Arabic meter and monorhyme into Hebrew writing. Jewish poets employed Arabic poetic themes, writing bacchic poetry, garden poetry, and love poetry.

Cotsworth was also an artist. "He attended several art schools in this country and studied for seven years in Paris," at the Académie Colarossi. His work included illustrating Ernest Peixotto's book, A Bacchic Pilgrimage, published by Charles Scribner's Sons and painting "three murals for some swank bowling alleys in Washington." His work was exhibited at the Corcoran Gallery of Art in Washington and at the Pennsylvania Academy of the Fine Arts and the Water Color Club in Philadelphia.

In the Sassanian period in Persia, wine was an important part of court ritual, and imperial presses have been discovered in Fars. These presses were shut down after the Muslim conquests in the late 7th and early 8th centuries, but the production of wine by the local Zoroastrian communities continued. The Zoroastrians, because of a unique confluence of their laws regarding commerce with Muslims and Muslim laws regarding commerce with Zoroastrians, produced and sold wine, and opened taverns to such an extent that the Persian term mobadhcheh (“son of a magus,” where “magus” is a term referring to Zoroastrians) became a well-known device referring to wine stewards in Persian bacchic poetry. Additionally, Persian- produced wine is mentioned frequently in both Arabic and Persian bacchic poetry, implying the presence of wine in those regions. Hafiz refers both to drinking adventures occurring “within the Magian tavern,” and Zoroastrian tavern-wenches serving wine and providing entertainment. Abu Nuwas “refer[s] several times to “superb Persian wine, “wine [selected] for Persian kings,” and “vintage Persian red,” and refers to vintages by their location.

Relief with Dionysiac imagery: an ecstatic satyr (Louvre Museum) Nearly all Campana reliefs are from Central Italy, especially Latium. The largest and most important workshops seem to have been in Latium, especially in the neighbourhood of the city of Rome. Outside Latium the tiles are found mostly in Campania and in the former Etruscan sphere. At the end of the 1990s Marion Rauch compiled the reliefs with Dionysiac-Bacchic themes and was able to confirm this range for the motifs she was investigating.

The ancient-mythic, the Dionysian- Bacchic, the Orphic-secret, the physiological-regenerative, Christian, erotic and maternal, national and competitive, the universal, peaceful-conciliatory element were the poetic themes of Sikelianos that were made objects of research and interpretative effort by Takis Dimopoulos, in the form of finding and indicating the fundamental 'axes' of Sikelianos' poetry."Δημόπουλος, Τάκης". Στο: Μιχάλης Γ. Μερακλής, Κάρολος Μητσάκης, Βάλτερ Πούχνερ, Αλέξης Ζήρας, Λαμπρινή Κουζέλη (επιμ.), Λεξικό νεοελληνικής λογοτεχνίας: πρόσωπα, έργα, ρεύματα, όροι, Πατάκης, 2007, σ. 494.

The King James version systematically translates the word as "sodomites", while the Revised Standard version renders it, "male cult prostitutes". At 1 Kings 15:12 the Septuagint hellenises them as teletai - personifications of the presiding spirits at the initiation rites of the Bacchic orgies. There may have been a transvestite element too. Various classical authors assert this of male initiates of Eastern goddess cults, and in the Vulgate for all four of these references St. Jerome renders the kadeshim as "effeminati".

To Brontinus was also ascribed a Physica, otherwise unknown. # Enthronement of the Mother, and Bacchic Rites, ascribed to Nicias of Elea, of whom nothing else is known. ‘Enthronement’ was part of the rite of initiation practised by the Corybantes, the worshippers of Rhea or Cybele; the person to be initiated was seated on a high chair, and the celebrants danced round him in a ring. The title therefore apparently means ‘the enthronement-ceremonies as practised by the worshippers of the Great Mother’.

Very little is known of Liber's official and unofficial cults during the early to middle Republican era. Their Dionysiac or Bacchic elements seem to have been regarded as tolerably ancient, home-grown and manageable by Roman authorities until 186 BC, shortly after the end of the Second Punic War. Livy, writing 200 years after the event, gives a highly theatrical account of the Bacchanalia's introduction by a foreign soothsayer, a "Greek of mean condition... a low operator of sacrifices". The cult spreads in secret, "like a plague".

Jupiter and Antiope, by Antoine Watteau. Jupiter and Antiope, by Bartholomeus Spranger. Here she was discovered by Dirce, who had come to celebrate a Bacchic festival; she ordered the two young men to tie Antiope to the horns of a wild bull. They were about to obey, when the old herdsman, who had brought them up, revealed his secret, and they carried out the punishment on Dirce instead, for cruel treatment of Antiope, their mother, who had been treated by Dirce as a slave.

In Roman and Greek literary sources from the late Republic and Imperial era, several notable triumphs feature similar, distinctively "Bacchic" processional elements, recalling the supposedly historic "Triumph of Liber".Beard, Mary: The Roman Triumph, The Belknap Press of Harvard University Press, Cambridge, Mass., and London, England, 2007, pp. 315–317. Liber and Dionysus may have had a connection that predated Classical Greece and Rome, in the form of the Mycenaean god Eleutheros, who shared the lineage and iconography of Dionysus but whose name has the same meaning as Liber.

Buckton, 67 The group of Byzantine hardstone vessels in various semi- precious stones is by the most important to survive.Buckton, 73–75 A glass situla or bucket carved with Bacchic figures been dated to either the 4th or 7th centuries.Buckton, 77–78 The 6th-century "throne-reliquary" in rather crudely carved alabaster, the Sedia di San Marco, was moved from the high altar to the Treasury in 1534. It would only fit a bishop with a slight figure, and has a large compartment for relics below the seat.

The orgia of both Dionysian worship and the cult of Cybele aim at breaking down barriers between the celebrants and the divinity through a state of mystic exaltation:Giulia Sfameni Gasparro, Soteriology and Mystic Aspects in the Cult of Cybele and Attis (Brill, 1985), p. 53 and 11–19. Dionysian mask Initiates of the Orphic and Bacchic orgia practiced distinctive burial customs (see Totenpass) expressive of their beliefs in an afterlife; for instance, it was forbidden for the dead to wear wool.According to Herodotus 2.81, as cited by Graf and Johnston, Ritual Texts, p. 159.

Jewish poets used the nostalgic tone of poetry of the Arabian Desert for poems about their own exile; imitated the Bacchic poems that described the pleasures of wine and sheltered gardens, and reflected on the lifestyle of a well-to-do class that shared values with their Muslim peers. They also shared an interest in Neo-Platonic concepts about the soul and other themes of Arabic love poetry, reformulated through the language of the Hebrew Bible (especially the Song of Songs), which penetrated both sacred and secular Hebrew poetry.

This latter triangle with its open corner has a curiously modern appearance, except that at the top angle the steel bar is twisted into a loop through which the thumb of the performer (an angel) passes. Like its ancestor the sistrum, the triangle was clearly used for religious ceremonies, quite widely in medieval churches. The triangle occurs more often than any other instrument except the cymbals in paintings of Bacchic processions and similar occasions, and angels will often be seen singing and playing a triangle at the same time.

At the time when the worship of Dionysus was introduced into Boeotia, and while the other women and maidens were reveling and ranging over the mountains in Bacchic joy, these sisters alone remained at home, devoting themselves to their usual occupations, and thus profaning the days sacred to the god. Dionysus punished them by changing them into bats, and their work into vines.Ovid, Metamorphoses iv. 1–40, 390–415 Plutarch, Aelian, and Antoninus Liberalis, though with some differences in the detail, relate that Dionysus appeared to the sisters in the form of a maiden, and invited them to partake in the Dionysian Mysteries.

Tiresias appears to Odysseus during the nekyia of Odyssey xi, in this watercolor with tempera by the Anglo- Swiss Johann Heinrich Füssli, c. 1780-85. Tiresias appears as the name of a recurring character in several stories and Greek tragedies concerning the legendary history of Thebes. In The Bacchae, by Euripides, Tiresias appears with Cadmus, the founder and first king of Thebes, to warn the current king Pentheus against denouncing Dionysus as a god. Along with Cadmus, he dresses as a worshiper of Dionysus to go up the mountain to honor the new god with the Theban women in their Bacchic revels.

She also was the founding director of the Center For the Study of Religion at Ohio State (2006–2010). Her books include Ancient Greek Divination (2008) and Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (2007, with Fritz Graf), Restless Dead: Encounters Between the Living and the Dead in Ancient Greece (1999) and Hekate Soteira (1990). Additionally, she has also been an editor for a number of collections including Religions of the Ancient World: A Guide (2004) and Ancient Religions (2007), and has authored a number of articles and essays for Classical journals.

Actor as Papposilenus, around 100 AD, after 4th-century BC original A.E. Haigh writes extensively on costumes for the satyric drama. The chorus members all wore masks in accordance with Bacchic tradition.Haigh (1907, 290) The earliest reliable testimony is supplied by the Pandora Vase dating from the middle of the 5th century BC. On that vase, the satyrs are portrayed as half men and half goats, wearing goat’s horns on their heads, thus referring to the goat deities of the Doric type.Haigh (1907, 293–294) A later representation can be seen on the Pronomos Vase, found in Naples.

Several other errors of misplaced graphite lines are also known and not all are included in the Stanley Gibbons catalogue.The 2003 Catalogue of Queen Elizabeth II British Postage Stamp Errors, Tom Pierron, Bacchic Multimedia, 2003. pp.285-288. The use of graphite lines was developed by British Post Office scientists in conjunction with the stamp printers Harrison & Sons of High Wycombe and the stamps were first used in an experimental machine at Southampton. The machine used scanners to detect the graphite lines and to face the letters so that the stamp was always in the top right corner.

They adhered to a liberal interpretation of the Torah with simpler rites and a more spiritualized outlook. Hagioi is a Greek word meaning "saints", "holy ones", "believers", "loyal followers", or "God's people", and was usually used in reference to members of the early Christian communities. It is a term that was frequently used by Paul in the New Testament, and in a few places in Acts of the Apostles in reference to Paul's activities."Jesus — One Hundred Years Before Christ by Alvar Ellegard" Both Gnosticism as well as certain Bacchic pagan cults are also mentioned as likely precursors of Christianity.

His poetry, far from being a little sweet song of melancholy, is deeply concerned with a drama combining his personal history and conflicts stylistic lived by the poets of his time. Cinza das Horas—Ash from the Hours presents a great view: the hurt, the sadness, resentment, framed by the morbid style of late symbolism. Carnival, a book that came soon after Cinza das Horas opens with the unpredictable: the evocation of the Bacchic and satanic carnival, but it ends in the middle of melancholy. This hesitation between jubilation and joint pain will be figurative in several dimensions.

Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard. Picasso learned new techniques of etching during the suite, from relatively simple line etchings, through burin, dry point, aquatinting and sugar aquatinting learnt through in his workshop.

The entire hoard is made of silver. It includes a saucer and three dishes, some of which are decorated with Bacchic scenes, a large plate inscribed with the name 'Benignus', an ornamented cup and a (now badly damaged) fluted bowl with a central medallion of Venus with Cupid and Priapus, which was used for washing hands. The whole set dates from between the late 2nd century and the early 3rd century and probably served to celebrate the cult of Bacchus. At the base of one of the dishes is inscribed the name 'Benignus Victori Victoris', who was almost certainly the original owner of the treasure.

The reformed Bacchic cults bore little resemblance to the crowded, ecstatic and uninhibited Bacchanalia: every cult meeting was restricted to five initiates and each could be held only with a praetor's consent. Similar attrition may have been imposed on Liber's cults; attempts to sever him from perceived or actual associations with the Bacchanalia seems clear from the official transference of the Liberalia ludi of 17 March to Ceres' Cerealia of 12–19 April. Once the ferocity of official clampdown eased off, the Liberalia games were officially restored, though probably in modified form. Illicit Bacchanals persisted covertly for many years, particularly in Southern Italy, their likely place of origin.

This marble head, sometimes thought to be the work of Praxiteles, probably depicts Eubuleus In ancient Greek religion and myth, Eubuleus (Ancient Greek Εὐβουλεύς Eubouleus means "good counsel"Rosemarie Taylor-Perry, The God Who Comes: Dionysian Mysteries Revisited (Algora, 2003), p. 10. or "wise in counsel"Robin Hard. The Routledge Handbook of Greek Mythology (2004) ) is a god known primarily from devotional inscriptions for mystery religions. The name appears several times in the corpus of the so-called Orphic gold tablets spelled variously, with forms including Euboulos, Eubouleos and Eubolos.Fritz Graf and Sarah Iles Johnston, Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (Routledge, 2007), pp.

The Torlonia Vase or Cesi-Albani-Torlonia Vase is a colossal and celebrated neo-Attic Roman white marble vase, 1.8 m tall, made in the 1st century BCE, which has passed through several prominent collections of antiquities before coming into the possession of the Princes Torlonia in Rome.Museo Torlonia, inv. 174. Luca Leoncini, "The Torlonia Vase: History and Visual Records from the Fifteenth to the Nineteenth Centuries", Journal of the Warburg and Courtauld Institutes, 54 (1991:99-116). The vase is of calyx krater shape, with a high frieze carved with a Bacchic symposium and an everted rim, standing on a gadrooned base imitative of metalwork.Leoncini 1991:99.

He explains that it is best to give your favor to one who can best return it, rather than one who needs it most. He concludes by stating that he thinks the speech is long enough, and the listener is welcome to ask any questions if something has been left out. Socrates, attempting to flatter Phaedrus, responds that he is in ecstasy and that it is all Phaedrus' doing. Socrates comments that as the speech seemed to make Phaedrus radiant, he is sure that Phaedrus understands these things better than he does himself, and that he cannot help follow Phaedrus' lead into his Bacchic frenzy.

There was also an Orphic Word-book, doubtless a glossary of the special terms used in the cult, some of which were strange because of their allegorical usage, others because of their antiquity; this also was said to have been in verse. Such was the list of works finally classed as Orphic writings, though it was known in early times that many of them were the works of Pythagoreans and other writers. Herodotus said of the so-called ‘Orphic and Bacchic rites’ that they were actually ‘Egyptian and Pythagorean’; and Ion of Chios said that Pythagoras himself attributed some of his writings to Orpheus.

85 in Some Hellenistic influence, such as the geometrical folds of the drapery or the contraposto stance of the statues, has been suggested. According to John Boardman, the hem of the dress in the monumental early Yaksha statues is derived from Greek art. Describing the drapery of one of these statues, John Boardman writes: "It has no local antecedents and looks most like a Greek Late Archaic mannerism", and suggests it is possibly derived from the Hellenistic art of nearby Bactria where this design is known. Under the Indo-Greeks, the cult of the Yakshas may also have been associated with the Bacchic cult of Dionysos.

The Dallas Museum of Art's collection of European art starts in the 16th century. Some of the earlier works include paintings by Giulio Cesare Procaccini (Ecce Homo, 1615–18), Pietro Paolini (Bacchic Concert, 1630), and Nicolas Mignard (The Shepherd Faustulus Bringing Romulus and Remus to His Wife, 1654). Art of the 18th century is represented by artists like Canaletto (A View from the Fondamenta Nuova, 1772), Jean- Baptiste Marie Pierre (The Abduction of Europa, 1750), and Claude-Joseph Vernet (Mountain Landscape with Approaching Storm, 1775). The loan of the Michael L. Rosenberg collection brings an added depth to the museum's 18th- century French collection.

The Triumph of Bacchus, a Roman mosaic from Africa Proconsolaris, dated 3rd century AD, now in the Sousse Archaeological Museum, Tunisia The origins and development of this honour are obscure. Roman historians placed the first triumph in the mythical past; some thought that it dated from Rome's foundation; others thought it more ancient than that. Roman etymologists thought that the soldiers' chant of triumpe was a borrowing via Etruscan of the Greek thriambus (θρίαμβος), cried out by satyrs and other attendants in Dionysian and Bacchic processions.Versnel considers it an invocation for divine help and manifestation, derived via an unknown pre-Greek language through Etruria and Greece.

Smyth's part in this had been to break the window of Lewis Harcourt, the Secretary of State for the Colonies.Norris in The Daily Telegraph, 31 July 2008 The conductor Thomas Beecham visited Smyth in prison and reported that he found the activists in the courtyard "...marching round it and singing lustily their war-chant while the composer, beaming approbation from an overlooking upper window, beat time in almost Bacchic frenzy with a toothbrush." While imprisoned in April 1913, Emmeline Pankhurst undertook a hunger strike which she did not expect to survive. She told Smyth that at night she would feebly sing "The March of the Women" and another of Smyth's compositions, "Laggard Dawn".

The statue is on a bronze and silver base, 152 cm high, made in 1530-40 by Aurelio, Ludovico, and Girolamo Lombardo. Because of the mistaken belief that the statue was of Bacchus, the base is decorated in honor of that god.Exhibition Checklist: Power and Pathos: Bronze Sculpture of the Hellenistic World, from the Getty Museum The front of the base bears an inscription by Pietro Bembo; the sides bear scenes of the triumph of Ariadne and of the sacrifice of a goat in a Bacchic rite. The pedestal is assembled from four large sections of hollow, four-sided moldings; its ornamental vocabulary suggests an altar.‘…con uno inbasamento et ornamento alto’: the rhetoric of the pedestal c.

Praetextatus' erudition and religiosity are attested by his widow, herself a priestess. Praetextatus was also an augur, quindecimvir and public priest of Vesta and Sol, an initiate of the Eleusinian mysteries, and priest of Hecate, Sarapis, Cybele, and Mithras, all apparently clustered on a solar theology analogous to that of the Emperor Julian. A Bacchic community shrine dedicated to Liber Pater was established in Cosa (in modern Tuscany), probably during the 4th century AD. It remained in use "apparently for decades after the edicts of Theodosius in 391 and 392 AD outlawing paganism". Its abandonment, or perhaps its destruction "by zealous Christians", was so abrupt that much of its cult paraphernalia survived virtually intact beneath the building's later collapse.

Orpheus before Pluto and Proserpina (1605), by Jan Brueghel the Elder Orpheus was regarded as a founder and prophet of the mysteries called "Orphic," "Dionysiac," or "Bacchic." Mythologized for his ability to entrance even animals and trees with his music, he was also credited in antiquity with the authorship of the lyrics that have survived as the Orphic Hymns, among them a hymn to Pluto. Orpheus's voice and lyre-playing represented a medium of revelation or higher knowledge for the mystery cults.Claude Calame, "The Authority of Orpheus, Poet and Bard: Between Tradition and Written Practice," in Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis (De Gruyter, 2010), p. 16.

Herma Here the Neoclassical tradition has taken the ancient genre and used it to depict another ancient theme. The plants and skins shown on the two sculptures reflect both pastoral settings and Bacchic revelry. The male herm may represent the god Dionysus, who was often depicted with grapes and a leopard, but pointed ears on this herm may indicate that it is not the god himself but rather one of his satyr followers. Likewise the female herm may be a dryad (nymph of the woods, often paired with satyrs or fauns), or a Maenad (a human female devotee of Dionysus), often described as clad in skins and cavorting madly or drunkenly, as this figure’s vibrant posture may suggest.

Cornelis (Poelenburgh) from Utrecht (bent-name Satier), Wouter (Crabeth) from Gou (bent-name Almanack), Tyman (Cracht) from Emster (bent-name Botterkull) and Peter from Leiden (bent- name Ram). Bentvueghels in a Roman Tavern, by Pieter van Laer The members, which included painters, etchers, sculptors and poets, all lived in different parts of the city (mostly the parishes of Santa Maria del Popolo and San Lorenzo in Lucina in the north of the city) and came together for social and intellectual reasons. The group was well known for its drunken, Bacchic initiation rituals (paid for by the initiate). These celebrations, sometimes lasting up to 24 hours, concluded with group marching to the church of Santa Costanza, known popularly at the time as the Temple of Bacchus.

Eva as the new "Homeric Penelope", due to the waiting for his return, changes her spiritual targeting and recognizes the priority that a loyal attitude and focus on the vision of the great poet has: she becomes the "thirsty receiver" of unrestrained "bacchic" erotic and mystic intoxication, sets aside every obstacle that gets in his way (material or otherwise), guides him and supports him in difficult times (death of Penelope), in a word, she is trying to assure that he will remain undisturbed from anything will could stand in his course. He, in turn, tries to understand the Greek tradition, he knows the "great Mystics" of all cultures and times and is increasingly developing his "innate secretive mood" and the "first image of Mother Nature" in him.

In this version of the legend, it is said that Orpheus was torn to shreds by the women of Thrace for his inattention. Ovid recounts that Orpheus ... Feeling spurned by Orpheus for taking only male lovers (eromenoi), the Ciconian women, followers of Dionysus, "by the Ciconian women." first threw sticks and stones at him as he played, but his music was so beautiful even the rocks and branches refused to hit him. Enraged, the women tore him to pieces during the frenzy of their Bacchic orgies. Book XI. In Albrecht Dürer's drawing of Orpheus' death, based on an original, now lost, by Andrea Mantegna, a ribbon high in the tree above him is lettered Orfeus der erst puseran ("Orpheus, the first pederast").

60-64 It has a narrow horizontal flange set below the upright rim and decorated with scroll patterns inlaid in niello, and a small nielloed rosette within the centre base. It has a high, domed lid that fits neatly over the vertical rim and has been decorated in a very different style, with two friezes of low-relief decoration. The upper zone consists of conventional foliate ornament, while the lower is a scene of centaurs attacking various wild animals, separated by Bacchic masks. The small raised rim at the top of the lid would have sufficed for handling it, but set within it is a 'knob' in the form of a silver-gilt statuette of a young, seated triton blowing a conch shell.

In addition to the three definite Christian symbols and two possibly Christian inscriptions on the spoons, and the ownership graffiti of Eutherios on the two small Bacchic platters, several of the Mildenhall pieces, in common with many large items of Roman silver tableware from other finds, bear weight-inscriptions. These are scratched in inconspicuous places, such as bases, and can be very difficult to read and interpret, since they do not necessarily record the weight of the object itself, but sometimes of a set of which that object forms part. Although domestic silver was used for social display, so that its artistic quality was important to the owner, the actual bullion value of precious metal was part of his wealth, and needed to be noted and recorded.

Rubens frequently returned to the theme of Bacchus, such as in his Drunken Hercules (1612-1618, Gemäldegalerie, Dresden) Young Bacchus Supported by Two Satyrs (post 1614, now lost but known through the engraving of Jonas Suyderhoef CG Voorhelm-Schneevoogt's engraving in Catalog des estampes gravees d'apres PP Rubens, Haarlem 1875, p.133.), Sylvester's Retinue (1618, Alte Pinakothek, Munich) and the studio work Bacchanalia (1612-1614, Palazzo Durazzo-Pallavicini, Genoa). They all draw on classical art, particularly a relief sculpture of a drunken Hercules and Bacchic sarcophagi scenes - one of the latter is now in Moscow and was known to Rubens, who based a sketch entitled Drunken Heracles with a Faun on it. Matilde Battistini: Symbole i alegorie. Warszawa: Wydawnictwo „Arkady”, 2005, s. 207. .

Aristeas narrates in the course of his poem that he was "wrapt in Bacchic fury" when he travelled to the north and saw the Arimaspians, as reported by Herodotus: > This Aristeas, possessed by Phoibos, visited the Issedones; beyond these (he > said) live the one-eyed Arimaspoi, beyond whom are the Grypes that guard > gold, and beyond these again the Hyperboreoi, whose territory reaches to the > sea. Except for the Hyperboreoi, all these nations (and first the Arimaspoi) > are always at war with their neighbors.Herodotus 4.13.1 Arimaspi and griffins remained stock images associated with the outlands of the north: the Aeschylan Prometheus Bound (ca 415 BC?), describing the wanderings of Io, notes that she is not to pass through the north, among the Arimaspi and griffins, but southward.

31 The exact motivations for Messalina's actions are unknown—it has been interpreted as a move to overthrow Claudius and install Silius as Emperor, with Silius adopting Britannicus and thereby ensuring her son's future accession. Other historians have speculated that Silius convinced Messalina that Claudius' overthrow was inevitable, and her best hopes of survival lay in a union with him. Tacitus stated that Messalina hesitated even as Silius insisted on marriage, but ultimately conceded because "she coveted the name of wife", and because Silius had divorced his own wife the previous year in anticipation of a union with Messalina. Another theory is that Messalina and Silius merely took part in a sham marriage as part of a Bacchic ritual as they were in the midst of celebrating the Vinalia, a festival of the grape harvest.

The two volumes of Seliges Nacktsein (1927) are collection of adolescent nudes. Alessandro Bertolotti wrote: "The cover of the second volumes shows a boy and two girls, hand in hand and dancing a joyful farandole, suggesting – by fluid, undulating outlines similar to those of the bacchic dancers of Jugendstil – the ideal of a fraternal friendship in perfect accord with German sensibility". Lotte Herrlich's production was broader actually, producing other conventional portraits, of clad people, landscapes, domestic animals, and even dolls, and her work can be found in publications of even after the Second War. Particularly, since the 1930s and until the end of her professional career Lotte Herrlich photographed nude children (Kinderkarte), mainly for divers collections of postcards (Kinderköpfe), whose printing was resumed after the war, during the 1950s.

Ornamental wellhead (puteal) (1st century AD) depicting a drunken Hercules as part of a Bacchic revel Votive altar dedicated to the Divine Fontes (plural) Fontus or Fons (plural Fontes, "Font" or "Source") was a god of wells and springs in ancient Roman religion. A religious festival called the Fontinalia was held on October 13 in his honor. Throughout the city, fountains and wellheads were adorned with garlands.Stephen L. Dyson, Rome: A Living Portrait of an Ancient City (Johns Hopkins University Press, 2010), p. 228. Described by Varro, De lingua latina 6.3: "The Fontanalia [is named after] Fontus, because it's his holiday (dies feriae); on account of him then they toss wreaths into fountains and garland puteals" (Fontanalia a Fonte, quod is dies feriae eius; ab eo tum et in fontes coronas iaciunt et puteos coronant).

Barbette Stanley Spaeth, "The Goddess Ceres and the Death of Tiberius Gracchus", Historia: Zeitschrift für Alte Geschichte, Vol. 39, No. 2 (1990), pp. 185-186. The sacred status and functions of the plebeian tribunes are respected by Rome's entire divine community, but as protectress of plebeian rights, Ceres is entitled to the property of the homo sacer. Even so, official Ludi Cereales were not established until as late as 202 BC. Liber's festival and the Bacchic or Dionysian aspects of his cult were suppressed under the ferocious Senatus consultum de Bacchanalibus of 186 BC. The Liberalia rites were transferred to Cerealia; after a few years they were restored to Liber.Beard, M., Price, S., North, J., Religions of Rome: Volume 1, a History, illustrated, Cambridge University Press, 1998, pp66 - 67, 93 - 96.

The Great Dish (also known as the Oceanus Dish or as the Neptune Dish, from the face of a sea-god at its centre), which measures 605 mm in diameter and weighs 8256 g, is the outstanding piece. The decoration, which was worked by chasing from the front, is in three concentric zones. In the centre, the head of a marine deity, probably Oceanus, the personification of the ocean, is shown full-face, with a beard made of seaweed and dolphins emerging from his hair. This portrait is surrounded by a narrow inner frieze of decoration populated by nereids (sea- nymphs), tritons and other mythical and natural sea-creatures, while the deep outermost zone carries imagery of the Bacchic thiasos, the dancing, music- making and drinking revels of the god Bacchus.

Some ancient writers ascribe to him the Nomos Orthios, which Herodotus attributes to Arion. Olympus was a great inventor in rhythm as well as in music. To the two existing species of rhythm, the ison, in which the arsis and thesis are equal (as in the Dactyl and Anapaest), and the diplasion, in which the arsis is twice the length of the thesis (as in the Iambus and Trochee), he added a third, the hemiolion in which the length of the arsis is equal to two short syllables, and that of the thesis to three, as, in the cretic foot, the paeons, and the Bacchic foot, though there is some doubt whether the last form was used by Olympus. There is no mention of any poems composed by Olympus.

The Bacchic mysteries served an important role in creating ritual traditions for transitions in people's lives; originally primarily for men and male sexuality, but later also created space for ritualizing women's changing roles and celebrating changes of status in a woman's life. This was often symbolized by a meeting with the gods who rule over death and change, such as Hades and Persephone, but also with Dionysus' mother Semele, who probably served a role related to initiation into the mysteries. The religion of Dionysus often included rituals involving the sacrifice of goats or bulls, and at least some participants and dancers wore wooden masks associated with the god. In some instances, records show the god participating in the ritual via a masked and clothed pillar, pole, or tree is used, while his worshipers eat bread and drink wine.

He also dealt with the use of motifs and templates derived from other media and pointed out that the artisans thereby produced creative new works. Since Borbein's publication, researchers have mainly devoted themselves to chronological aspects or the preparation of catalogues of material from recent excavations and publications of old collections. In 1999 Marion Rauch produced an iconographic study Bacchische Themen und Nilbilder auf Campanareliefs ("Bacchic Themes and Nile Images in Campana Reliefs") and in 2006 Kristine Bøggild Johannsen described the usage contexts of the tiles in Roman villas on the basis of recent archaeological finds. She showed that the reliefs were among the most common decorations of Roman villas from the middle of the first century BC until the beginning of the second century AD, both in the country houses of the nobility and in the essentially agricultural villae rusticae.

The dramatic festivities at the City Dionysia in Athens, similarly dedicated to Dionysus, required each playwright to submit three tragedies and a satyr play, which functioned as the last piece performed at the festival.Rehm (1992, 39) and Lancelyn Green (1957, 11) The accurate emergence of the satyr play is debatable; however, Brockett argues that most evidence “credits Pratinas with having invented this form sometime before 501 BC”,Brockett (1999, 17) which is supported by P. E. Easterling’s argument that by the 5th century the satyr play was considered an integral component of the tragike didaskalia.Easterling(1997, 40) Brockett also suggests the possibility that the satyr play was the first form of drama from which both tragedy and comedy gradually emerged. A. E. Haigh however maintained that the satyr play is a survival from “the primitive period of Bacchic worship”.

Shale box, part of the hoard, probably containing the smaller items. The gold belt-buckle is an unusual find, and would have been worn by a man; we know that belts decorated in various forms were important symbols of office or status in late Roman times, though few elements of them have survived.Henig (1996) 168-169 Its decoration, of a satyr carrying a pedum (shepherd's crook) and a bunch of grapes, accords with other hints at Bacchic imagery throughout the assemblage, in both the jewellery and the tableware. For example, the running feline animal on spoon (cochlear) (item 66), originally identified as a panther or leopard, and referred to as the 'panther spoon', is certainly a reference to Bacchus, who was regularly accompanied by a panther or leopard (Panthera pardus), or by a tiger (Panthera tigris).

In fact, the animal on Thetford spoon (item 66) is probably a tiger: the rendering of the stripes as very short curved lines, easily mistaken for spots, was common in Roman art. The rings from the hoard The gold finger-rings could have been worn by either men or women, though the bracelets, and necklaces with pendants were chiefly feminine jewels at this date. Many of the rings display elaborate filigree work, typical of late-Roman taste, and a few are of highly unusual design. The tiny horned, Pan-like head that forms the bezel of ring (item 23) appears to be unparalleled, and may well be intended as a reference to Faunus, while the design of (item 7), two birds flanking a vase, is both a standard Bacchic image, eventually adopted in Christian iconography, and possibly something more specific in this instance.

Most modern scholarship agrees that Dionysiac or Bacchic mystery cults had been practiced in Roman Italy for several decades before 186, and were considered acceptable by Roman authorities until this abrupt "discovery" and rapid suppression.Livy describes their introduction by a foreign soothsayer, a "Greek of mean condition... a low operator of sacrifices" and their secretive spread, "like a plague", towards Rome via Etruria; see Sarolta Takacs, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion, University of Texas Press, 2008, p.95. See also Beard, M., Price, S., North, J., Religions of Rome: Volume 1, a History, illustrated, Cambridge University Press, 1998, pp. 93 - 96, and Walsh, PG, Making a drama out of a Crisis: Livy on the Bacchanalia, Greece & Rome, Vol XLIII, No. 2, October 1996. Paculla Annia is unlikely to have introduced all the changes attributed to her by Livy;Erich S. Gruen, Studies in Greek Culture and Roman Policy, University of California Press, 1996, pp 48 - 54.

The central block and the end pavilions are articulated at piano nobile level with unfluted Corinthian pilasters over tall which becomes a hexastyle portico supporting a pediment in the middle of the facade, there is a minor order of 48 Ionic columns over high that runs the length of the facade. The portico fronts a loggia that contains the doorway to the Marble Saloon, this is flanked by large niches that used to contain ancient Roman statues, between the columns of the portico used to be the marble sculpture of Vertumnus and Pomona by Laurent Delvaux now in the V&A.; Above the niches is a large frieze on a Bacchic theme, this is based on an engraving in James Stuart's and Nicholas Revett's Antiquities of Athens of the frieze on the Choragic Monument of Lysicrates. There is a flight of thirty three steps the full width of the portico which descends to the South Lawn.

Under the Indo-Greeks, the cult of the Yakshas may also have been associated with the Bacchic cult of Dionysos."We have no way of knowing whether there was any direct association between the cult of the Yashas and Dionysos during the Indo-Greek era, but this is a distinct possibility" in Since the time of Alexander the Great visiting a city called Nysa in northern India, the Greeks had identified local devotional practices as similar to their cult of Dionysos. They may have promoted a syncretic art which conflated Hellenistic Dionysiac imagery with the local cult of the Yakshas."Perhaps the Bactrian Greek invaders of northern India were the first actively to foster a syncretism involving Dionysos and his bacchants with Kubera and his Yakshas." in In the production of colossal Yaksha statues carved in the round, which can be found in several locations in northern India, the art of Mathura is considered as the most advanced in quality and quantity during this period.

Bacchus by Michelangelo (1497) Bacchic subjects in art resumed in the Italian Renaissance, and soon became almost as popular as in antiquity, but his "strong association with feminine spirituality and power almost disappeared", as did "the idea that the destructive and creative powers of the god were indissolubly linked".Bull, 227–228, both quoted In Michelangelo's statue (1496–97) "madness has become merriment". The statue aspires to suggest both drunken incapacity and an elevated consciousness, but this was perhaps lost on later viewers, and typically the two aspects were thereafter split, with a clearly drunk Silenus representing the former, and a youthful Bacchus often shown with wings, because he carries the mind to higher places.Bull, 228–232, 228 quoted Hendrik Goltzius, 1600–03, the Philadelphia "pen painting" Titian's Bacchus and Ariadne (1522–23) and The Bacchanal of the Andrians (1523–26), both painted for the same room, offer an influential heroic pastoral,Bull, 235–238, 242, 247–250 while Diego Velázquez in The Triumph of Bacchus (or Los borrachos – "the drinkers", c.

Sibylla (and the other characters) as a prophetess, also expresses and symbolizes the Greek spirit John Gassner, The Reader's Encyclopedia of World Drama, 2002, p. 398. and conscience against the Roman roughness (during the time of the plot), as well as against the spirit of the conqueror in general (an allegorical approach, based on the historical circumstances at the time of writing of the play). The play expresses personal ideas of Sikelianos, similar to the ideas of his time, expressed through the theatrical garb of ancient tragedy and the elements that are traditionally used in tragedies (religious, psychological and other). What is important for the understanding of the play are the concepts of the "mantosyni" (the art of oracle as an inner power, spiritually superior to the other inner powers of every man) a property that Sibylla has as a mythical figure and symbol and also the concept of the combination of the Apollonian and the Dionysian element (the individual, logic-wise, prophetic, cult of Apollo in connection with the collective, bacchic-frenzied, ecstatic, joyful worship of Dionysus, cults that were in stark contrast before the advent of Dionysus in Delphi).

The 2007 event The 2007 event The 2007 event The 2007 event An event at the Rainbow Warehouse, Digbeth, Birmingham, on 3 November 2007, presented as the pinnacle of the weekend’s Gigbeth music festival, taking a more theatrical approach than the first show and centring on a narrative based on the Hero's Journey by Joseph Campbell which takes its structure from Campbell’s study of the great myths and legends. Characters included a demonic clown, semi- deranged Bacchic priestesses performed by the Kindle Theatre Company, actress Rahil Liapopolou, Lucy Nicholls, capoeira dancers and other "strange, shady characters", in a performance directed by Pyn Stockman. Musical highlights included Islamic vocal group Aashiq al-Rasul and instrumental heavy post-rock band Einstellung who produced a collaboration also including the minimalist piano of Rich Batsford and a new incarnation of the 'aural fight' this time comprising a digital vs analogue sound clash. The show was described as "a seamless six hour journey of fantasy and light" by Bearded recognising a progression created by adding another screen between each of the stages to those directly above each stage, to effectively create a 360-degree visual environment.