Tragic Irony

Tragic Irony

The Greeks did not exhibit the Bacchae until after Euripides’ death. Possibly, this play is one of his last works because there are particular local allusions suggesting that he wrote it at the court of Archelaus in Macedonia. Actors and artists imitated and quoted the Bacchae on numerous occasions more than any other play. Undoubtedly, this play is one of the greatest and most popular tragedies. Besides, it is a marvelous testimony of vitality and vigor of a poet, given that the author produced it in extreme old age.

            The main motive of Bacchae’s plot is the conflict between religious instinct and rationalism.  It has a permanent and deep interest. For instance, the speaker contrasts the characters with discrimination and skill. Pentheus’s worst enemy is hypocrisy and is skeptical of religion. Yet he has permanent deep hidden agendas. He expresses a determination to forcefully suppress Bacchic rites because they conceal sensual indulgence.  Ironically, Teiresias (a man with reverent and pious soul) opposes him. He argues that his father’s traditions coeval with time hence are imperishable and sacred. As a prudent counselor, Cadmus intervenes to resolve the conflict by recommending caution and submission. He argues that even if Dionysus is non-existent as a god, it is better for Pentheus to pretend as a believer by practicing useful falsehood.

The ferocious antagonism between the differing parties is intensely dramatic. In fact, as the story nears its end, there is a tragic irony that cannot be equaled in Euripides. Under the appearance of a comely youth, Dionysus hides his vindictive purpose. He disguises himself as smooth and innocent, prompting Pentheus to follow his treacherous guidance blindly. It draws him from one apparition to the other until when he comes to the stage when the scene reaches its climax. Not only does he dress like a Bacchante but also, he is half-dazed in mind.  The flowing robe, wand, and griddle humiliate him as the public gaze at his posture. As a result, Dionysus smiles feebly as if unconscious of his partner’s mockery.  Clearly, he is amazed by the cleverness of the disguise. Then, he carefully arranges female attire details before confidently departing in gratitude and awe on his deadly enterprise. Pentheus initial description of Dionysus was that he is child-like. However, he became less than a man as Dionysus influenced his destiny.

The central tragic irony is that Dionysus (a god) controls the plot, although the audience considers him a victim since all the characters hunt him down throughout the play (Segal 4). The eventual outcome of his fight with Pentheus is probably a foregone conclusion. At first, Pentheus appears powerful and at the center of the play. He effortlessly captures Dionysus, even though nothing can bind a god. Ironically, Pentheus, with a remarkable physical strength, does not realize that his own rigid attitude, secret desires, and Puritanism are gradually trapping him. Pentheus does not concede even as the events turn against him. He declares that he is the strongest man on stage. However, Dionysus tells him that he does not understand the real situation. He bluntly tells Pentheus that he is unaware of his personality. Therefore, there is an irony in the dialogue between a god and a man. Another instance is when Pentheus disguises himself as a female character. He goes to the mountains to spy on naked young women but Dionysus warns him that he will be carried back as an example. While Pentheus is convinced that his mother will carry him as a successful man basking in full glory and admiration, the reality he was brought back as a corpse.

Pentheus’ own kin killed him. As if not enough, his mother ‘purchased her foot against doomed man’s ribs’ after tearing apart his son’s body (Dodds 441). Pentheus’ death is not only ironically tragic but also emotionally painful for both readers and characters, given that his mother kills him. On the other hand, Dionysus’ sheer influence is evident in his possession of dozens of young women including Pentheus’s girlfriends and close relatives. He convinces Maenads to rummage through nearby villages and kill him.

After realizing that her son is dead, Pentheus’ mother admits emotionally that she is a wretched woman. The fact that she is manipulated to kill her son enables the audience to understand the extent of complexity in the final scene. She would not have kicked Pentheus unless a god influenced her. Besides, the audience is aware that she committed the murder but the female character could not tell since she was under a supernatural influence. Once she comes back to her senses her boasting and pride fade away and she sinks into a grieving mood. The author wittingly employs tragic irony to reveal the contrast between the woman’s real emotions and her state of being under Dionysus’ control. Consequently, the readers understand the contrast in different scenes and empathize with the victims in the play.

The play portrays the power of supernatural beings and how futile human resistance is on universal convictions. There are remarkable vehemence and passion enforcing play’s last scene. Readers regard the Bacchae as Euripides recantation. Literary analysts suggest that the author wished to reconcile with fellow citizens during his sunset years, despite his previous attack on their way of life and religion. His life tragically ended and questions ironically linger on his convictions on life after death.

Works Cited

Dodds, Eric Robertson. Bacchae. London: Oxford University Press, 2011.

Segal, Charles. Dionysiac Poetics and Euripides' Bacchae. New Jersey: Princeton University Press, 2012: 1-14. Print.