Kretschmer tried to deduce the name Semele from the Thracian-Phrygian word meaning "goddess of the earth", and such etymology was agreed by such prominent scientists as Nilsson and Vilamovitz. Whether this explanation is true or not, it does not provide anything for understanding the myth. First, it is difficult to imagine the hierogamy of Mother Earth and the heavenly god, which would end with the death of the first in the fire. On the other hand, the earliest traditions, significantly, emphasize this very fact: mortal woman, Semele, gave birth to god. And it is precisely this paradoxical duality of Dionysus that is important for the Greeks, since only it can explain the unusual fate of this god.

Born a mortal woman, Dionysus had no right to belong to the Olympic pantheon; however, he managed to establish himself in it, and in the end to introduce there his mother, Semele. Many references show that Homer knew about Dionysus, but neither the poet nor his audience was interested in the "foreign" god, so unlike the Olympians. And yet we owe the very first testimonies of Dionysus to Homer. The Iliad (VI, 128-40) tells a famous story: the Thracian hero Lycurgus pursues the nurses of Dionysus, "and they all at once drop the objects of their worship on the ground," while the god, "filled with horror, threw himself into the waves of the sea, and Thetis pressed him, trembling, to her chest, because a tremor seized him when he heard a war cry. " But Lycurgus "aroused the wrath of the gods," and Zeus blinded him, and he did not live long, because "all the immortal gods hated him."

In this story, where there is an escape from the "wolf-man" and a jump into the sea, traces of an ancient initiatory scenario can be discerned. However, in Homer's time, the meaning and intent of the myth were different. Homer shows us an episode characteristic of the fate of Dionysus - his "pursuit" by hostile characters. But the myth also indicates that Dionysus is recognized as a member of the family of gods, because not only his father Zeus, but all other gods feel offended by the actions of Lycurgus.

In this persecution finds its dramatic expression "resistance" to the nature of Dionysus and the religious "load" of his image. Perseus directs his army against Dionysus and the accompanying "sea inhabitants"; according to one of the legends, he threw God to the bottom of Lake Lernaeus (Plutarch. De Iside, 35). We again meet with the theme of persecution in the analysis of Euripides' "Bacchae". Attempts are known to interpret such episodes as mythologized traces of rejection, which the cult of Dionysus encountered. They are based on the theory that Dionysus is supposedly a "foreign" deity, as he appeared in Greece relatively late. After Erwin Rode, most scholars regard Dionysus as a Thracian god who came to Greece either directly from Thrace or from Phrygia. But Walter Otto draws attention to the ancient and pan-Hellenistic character of Dionysus, and the fact that his name is di-wo-nu-so-jo- is in the Mycenaean monuments, it seems, confirms his hypothesis. Nevertheless, Herodotus believed that Dionysus "appeared late" and that in Euripides' Bacchae (lines 220-21) Pentheus speaks of "this alien god: what kind of god, I do not know."

But regardless of what the history of the penetration of the cult of Dionysus into Greece was, the myths and mythological fragments indicating the rejection he met have a deeper meaning: they give us knowledge about the Dionysian religious experience, and about the special structure of the deity himself. Dionysus would inevitably provoke resistance and persecution, because the religious experience associated with him threatened the entire lifestyle and world of values ​​at that time. The supremacy of the Olympic religion and its institutions could be shaken. But in rejection, a more subtle drama also expressed itself - of those that are abundantly recorded in the history of religions - resistance to any absolute religious experience due to the fact that such an experience can only be realized through denial everything else(no matter what term it is designated - balance, personality, consciousness, mind, etc.).

Walter Otto was well aware of the relationship between the theme of "persecution" of Dionysus and the typology of his many and varied epiphanies. Dionysus is such a god who suddenly appears and then mysteriously disappears. At the celebrations of Agrionius in Chaeronea, women searched in vain for him and announced that God had poisoned himself to the Muses, who hid him. (Otto. Dionysos, p. 79). He dives to the bottom of the Lerna or into the sea and disappears, and then appears - as in the celebration of the Anfesteria - in a boat on the crests of the waves. Mentions of his "awakening" in a wicker cradle (Otto, p. 82 sq.) Indicate the same mythical theme. These periodic phenomena and disappearances place Dionysus among the gods of vegetation. He does show some solidarity with plant life: ivy and pine are almost inseparable from his image, and the most popular holidays in his honor coincide with the agricultural calendar. But Dionysus is life in its entirety, which can be seen from the way he is connected with water, with blood, sperm, with growth processes, and for the exuberant vitality shown by his "animal" epiphanies (bull, lion, goat) ... In his unexpected appearances and disappearances, one can see the analogy of the origin and extinction of life, that is, the alternation of life and death and, ultimately, their unity. But this is not an "objective" observation of a cosmic phenomenon, whose ordinariness could not give rise to a single religious idea or give rise to a myth. Through his appearances and disappearances, Dionysus reveals the mystery - and holiness - of the union of life and death. And this revelation is religious in nature, for it is the presence of divinity that produces it. In addition, Dionysus' apparitions and disappearances are not always associated with the seasons: he may appear in winter, but hide at the very same spring festival, where he performs his most triumphant epiphany.

Disappearance is a mythological expression of the descent into Hades, death. And indeed, in Delphi they showed the grave of Dionysus; it was also said that he died in Argos. And when, during a ritual in Argos, Dionysus is called from the depths of the sea ( Plutarch. De Iside, 35), he again comes from the land of the dead. One of the Orphic hymns (§ 53) says that when Dionysus is not there, he is with Persephone. Finally, the myth of Zagreus-Dionysus, which we will discuss below, tells of the terrible death of a deity, killed, torn to pieces and eaten by the titans.

These diverse and complementary features of the image of Dionysus can still be discerned in the public rites dedicated to him, despite the inevitable amendments and interpretations.

§ 123. Archaic nature of some national holidays

Since the time of Lysistratus, four festivals have been held in Athens in honor of Dionysus. Rural Dionysias, which took place in December, were village festivals. The procession carried a huge phallus, crowds with songs accompanied him. Widespread in the world and essentially archaic, "phallophoria" is certainly older than the cult of Dionysus. Among the ritual entertainments were all sorts of competitions, and most importantly - a parade of mummers in masks or in animal costumes. These rituals themselves appeared before Dionysus, but in this case it is not difficult to understand how the god of wine became the leader of the procession of masks.

We know much less about the Lenei in the middle of winter. In Heraclitus, you can read that the word "Lenei" and the verb "perform Lenei" were used as equivalents of the word "bacchante" and the verb "play bacchante". God was called with daidouchos. According to the interpretation of one of the verses of Aristophanes, the Eleusinian priest, "holding a torch in his hand, says:" Call God! ", And those present exclaim:" Son of Semele, Iacchus, giver of riches! "

Anfesterias were celebrated around February-March, and the Great Dionysias, which appeared later, in March-April. Thucydides (II, 15.4) regards Anfesteria as the earliest known festival in honor of Dionysus, and also the most important. On the first day, called Pythogia, earthen jugs were opened (pithoi- pithos) with wine from the harvest of the previous fall. The casks were transferred to the sanctuary of Dionysus "in the Swamp", a libation was offered to God, and then the new wine was tasted. On the second day (called Choes,"jugs"), competitions were held on the speed of drinking: the participants received full jugs of wine and, upon a signal, had to drink them in a race. This competition, like some competitions in rural Dionysia (for example, askoliasmos, where young people are trying to maintain balance on oiled fur), takes place according to the same well-known scenario as all kinds of fights and tournaments (in sports, in public speaking), the meaning of which is to contribute to the renewal of life. But the intoxicated euphoria of these festivities speaks of the expectation of a different afterlife than the one that Homeric's gloomy underworld promises to people.

In a day Choes there was also a procession symbolizing the entry of God into the city. Since it was believed that he was from the sea, a boat was carried through the city on four wheels from a chariot, in which sat Dionysus with a vine in his hand, and with him - two naked satyrs playing flutes. A large crowd, perhaps in masks or costumes, the sacrificial bull who walked first, the flutist and those who carried the garlands, made up the procession that moved to Lenya, an ancient sanctuary, open only on this day. Various ceremonies took place there, in which they took part basilinna,"Queen", that is, the wife of the king-archon, and her four associates. From now on basilinna, the heiress of the ancient queens of the city, was considered the wife of Dionysus. She rode beside him in a cart, and now a new procession, of a wedding type, was heading for Bukole (literally "bull's stall"), the ancient residence of the kings. Aristotle claims that there, in Bukole, the sacred marriage of God and the queen was played out (Ath. Pol. 3,5). The fact that it was Bucoli that was chosen for this indicates that the belief in the "bullish" epiphany of Dionysus was preserved.

Attempts have been made to interpret this union in a symbolic sense, and the god, presumably, was portrayed by the archon. But Walter Otto does not accidentally emphasize the importance of Aristotle's testimony.

The queen accepts God in the house of her husband, the heir to the kings, - therefore, Dionysus acts as a king. Perhaps this union symbolizes the marriage of the deity with the city itself, a marriage that promises the latter all kinds of benefits. But this act is characteristic of Dionysus - a deity whose epiphanies are brutal and who demands that his supremacy be publicly proclaimed. We do not know of any other Greek cult in which God would unite with a queen.

But the three days of Anfesterus, and especially the second of them - the day of the triumph of Dionysus, is an unfavorable, evil time, because on these days the souls of the dead return to earth, and with them - the kera, carriers of the harmful influence of Hades. In addition, the last day of the Anfesterii was directly dedicated to these creatures. Prayers were pronounced to the dead, from various cereals they prepared panspermia- thin porridge, which had to be eaten before dark. With the coming of night everyone shouted in chorus: "To the gates, keri! The enfesterias are over!" A similar ritual scenario is well known and recorded in almost all agricultural civilizations. Fertility and wealth depend on the dead and on the forces of the underworld: "From the dead," Hippocrates writes in one treatise, "food, seeds and the ability to grow come to us." In all ceremonies, Dionysus acts as the god of fertility and death at the same time. Already Heraclitus said (fragment 15) that "Hades and Dionysus are one and the same."

Above, we mentioned the relationship of Dionysus with water, moisture, plant juices. It should also be said about the "miracles" that accompany or foreshadow his epiphanies: a spring begins to gush from the rock, the rivers are filled with milk and honey. Spring water turns into wine in Teos at a festival in honor of Dionysus (Diodorus of Siculus, III, 66, 2). In Alice, three bowls, left empty in the evening in a tightly closed room, turn out to be full of wine in the morning. (Pausanias, VI, 2, 6,1-2). Similar "miracles" took place elsewhere. The most famous was the "one-day grape", which blossomed and bore fruit in a few hours; this happened in different places, as evidenced by several authors.

§ 124. Euripides and the orgiastic cult of Dionysus

Such "miracles" are characteristic of the frantic and ecstatic cult of Dionysus, which reflects the most original and, quite possibly, the most ancient aspect of the image of this god. In the Bacchae of Euripides we have an invaluable illustration of what may have formed from the contact of the Greek genius with the Dionysian orgiasticism. Dionysus himself is the main character in The Bacchae, which has never been seen in an ancient Greek drama. Outraged that his cult is not recognized in any way in Greece, Dionysus arrives from Asia with a retinue of maenads and stops in Thebes, in his mother's homeland. Three daughters of King Cadmus deny that their sister Semele was the beloved of Zeus and gave birth to a god. Dionysus amazes them with "madness", and his aunts, along with other Theban women, run away to the mountains, where they perform orgiastic rituals. Pentheus, who inherited the throne after his grandfather Cadmus, forbade such ceremonies and remained adamant about it, despite the warning received. Dionysus, who was acting under the guise of a priest of his own cult, was captured and taken into custody by Pentheus. But he is miraculously released from prison and even manages to persuade Pentheus to go and spy on the women during their orgiastic ceremonies. The Maenads notice him and tear him apart; Pentheus' mother Agave solemnly brings his head into the city, thinking that it is the head of a lion.

Whatever Euripides wanted to say when he wrote the Bacchae at the end of his life, this masterpiece of Greek tragedy is the most important document related to the cult of Dionysus. The theme of "rejection, persecution and triumph" finds its most brilliant illustration here. And yet the old opposition to the cult was not forgotten, and one of the edifying ideas of the Bacchae was, of course, that God should not be rejected because of his "novelty." Pentheus does not accept Dionysus, because he is "a stranger and a sorcerer ... His head is all in golden curls / And fragrant, he himself is ruddy from his face, / And the bliss of Aphrodite is in his eyes; the deceiver spends these days and nights / With the girls he teaches them / He is to the orgies of a jubilant god ... "(lines 234 et seq.) Women leave their homes, run away at night to the mountains and dance there to the sound of tympans and flutes. And Pentheus is afraid, mainly, of the power of wine: "No, the rite where women are served / Grape juice, I do not recognize as pure" (261–262).

However, it is not wine that brings the Bacchantes into ecstasy. One of Penfey's servants, who came across them at dawn on Kiferon, says that they are dressed in goat skins, their heads are decorated with ivy, their bodies are entwined with snakes, they hold goats or wolf cubs in their arms, sucking from their breasts. A lot of specifically Dionysian miracles take place: Bacchantes hit the rock with their thyrsus, and water or wine begins to flow from there; they "scrape the earth with their fingertips" - milk will pour; honey oozes from ivy-covered thyrsus. The servant says to Pentheus: "You blaspheme Bacchus, king; but, once you saw / All this, you would pray to him" (712-13).

Discovered by Agave, the servant and his companions barely escape death. The Bacchae then rush "with their bare hands" on the grazing cattle. "Defeated by the darkness of the girls' hands", the ferocious bulls are torn to pieces in the blink of an eye. After that, the maenads rush to the valleys. "I saw how they, kidnapping the children, / They carried them on their shoulders, without tying them up, / And the little ones did not fall to the ground. / They could lift everything they wanted in their hands; neither copper nor iron / The weight did not resist them ; On the curls / They had a fire - and they didn’t burn. / The peasants, seeing that their belongings were being carried mercilessly, tried to raise the weapon. the thyrsus will raise - and they run / Men; how many wounded are left! (753 ff.).

There is no point in delving into the differences between these wild, wild nocturnal orgies and the Dionysian folk festivals (see paragraph 123 above). Euripides introduces us to a secret cult characteristic of the sacraments. “What kind of sacrament? Tell me,” asks Pentheus. And Dionysus replies: "It is impossible for the uninitiated to know about them." "And how do the fans benefit from them?" - "You cannot find out; but it is worth knowing them" (471-74).

The mystery consisted of the participation of the Bacchantes in the epiphany of Dionysus from beginning to end. The ceremonies are performed at night, far from cities, on mountain slopes or in forests. Union with God is achieved by the sacrifice of an animal, which is torn to pieces. (sparagmos) and eaten raw (omophagia). Everything else: extraordinary physical strength, invulnerability to fire and weapons, miracles (water, wine, milk exuded by the earth), fearless relationships with snakes and young wild animals are the result of exaltation, identification with God. Dionysian ecstasy means, first of all, overcoming human limitations, achieving complete liberation, gaining freedom and immediacy, not characteristic of human beings. The fact that among these freedoms there is freedom from the prohibitions, rules and conventions of etiquette and social order seems obvious, and this is one of the reasons for the mass adherence of women to the cult of Dionysus.

But the Dionysian experience extended to more intimate depths. Devouring raw flesh, the Bacchantes did what had been suppressed for tens of thousands of years; such a frenzy was a connection with vital and cosmic forces, which can be interpreted as divine obsession. Obsession was naturally confused with "madness" mania. And Dionysus himself found "madness", and the Bacchantes only shared his trials and passions with him - in the end, this was the surest way to get in touch with him.

The Greeks were also familiar with other cases when the gods sent mania. In the tragedy of Euripides "Hercules", the madness of the hero is the work of Hera; in Sophocles' Ajax, Athena causes madness. Coribantism, which the ancients compared to Dionysian orgiasticism, was mania, summoned by the Coribants, and his therapy ended with nothing more than initiation. But Dionysus and his cult were distinguished not by psychopathic crises, but by the fact that these crises were given value religious experience, regardless of whether it was a divine-sent punishment or a sign of favor. Ultimately, the interest in comparing externally similar rituals or collective actions - for example, medieval dances, in which convulsive movements predominate, or the ritual homophagy of the Aissav, the North African mystical brotherhood - is explained by the fact that such a comparison reveals the uniqueness of the Dionysian religion.

Very rarely, in any historical period, a deity suddenly appears, so "loaded" with an archaic heritage: rituals using theriomorphic masks, phallophoria, sparagmos, homophagy, anthropophagy, mania, enthousiasmos. But the most remarkable thing is that, while preserving this heritage, these remnants of prehistoric times, the cult of Dionysus, once entering the spiritual universe of the Greeks, did not cease to generate new religious values. Indeed, the frenzy caused by divine obsession - "madness" - interested many authors, and often caused irony and ridicule. Herodotus (IV, 78–80) tells about the adventure of the Scythian king Skyla, who, being in Olbia, on Borisfen (Dnieper), was "initiated into the rites of Dionysus-Bacchus." During the ceremony (teletē) he, possessed by a deity, turned "into a bacchante and a madman." In all likelihood, we are talking about a procession in which the initiates, "under the influence of a deity", allow themselves to be carried away by a frenzy, taken by outsiders, as well as by the possessed themselves for "madness" (mania).

Herodotus confines himself to retelling the story he heard in Olbia. Demosthenes in the famous passage (De corona, 259), trying to ridicule his opponent Aeschines, essentially describes some of the rites performed by the tias (thiasoi), unofficial religious brotherhoods, in Athens, in the IV century. BC e., to the glory of Sabazius - a Thracian deity, akin to Dionysus. (The ancients considered him to be the Thracian Dionysus with a local name). Demosthenes mentions rites followed by reading from "books" (probably from some written text containing hieroi logoi); he talks about "nebrizo"(hint at nebris,"goatskin" "perhaps it was a sacrifice with eating raw animal meat), about "kraterizo" (krater- a vessel in which wine and water were mixed, "mystical drink"), about "purification" (katharmos), which consisted mainly of rubbing the initiate with clay and flour. In the end, says Demosthenes, the minister lifted the initiate, prostrated on the ground in exhaustion, who repeated the formula: "I escaped evil and found a better one." And the whole meeting burst into screams (ologlygé). The next morning, there was a procession of initiates wearing wreaths of fennel and silver poplar branches. Aeschines walked at the head of the procession, waving snakes, shouting " Evoe, mysteries of Sabazia! "and danced to the shouts of the audience: "Hyes, Attès, Attès, Hyes". Demosthenes also mentions the basket, the "mystical winnower", liknon, the first cradle of baby Dionysus.

The central part of the Dionysian ritual has always been, in some form, the ecstatic experience of a greater or lesser degree of frenzy - mania. This "madness" served as a kind of proof that the initiate was entheos- "filled with God." Of course, the experience was unforgettable, because it gave the participant a feeling of intoxicating freedom, introduced to the creative immediacy, superhuman strength and invulnerability of Dionysus. Unity with God temporarily broke the shackles of human limitation, although it could not overcome it: neither the Bacchae, nor such a late work as Nonna's Dionysiaca speaks of immortality. This alone is enough to see the difference between the Greek god and Zalmoxis, with whom, since the publication of the book of Rode, Dionysus has been compared and sometimes confused; this god of the Getae "immortalized" initiates in his mysteries. The Greeks, however, did not dare to throw a bridge over the infinity that separated, in their eyes, the divine and human states.

§ 125. When the Greeks rediscover the presence of God

The activities of the unofficial tias were definitely initiatory and secret (see: Bacchae, 470-74), despite the fact that some part of the ceremonies (for example, the procession) was public. It is difficult to clarify when and under what circumstances the secret and initiatory Dionysian rites acquired the special functions of the mystery religions. Some very authoritative scholars (Nilsson, Festugier) dispute the existence of the Dionysian mysteries on the grounds that there is not a single indisputable indication of an eschatological hope in them. But it must be borne in mind that we know very little about secret rituals in general, and even more so in the ancient era, not to mention their esoteric meaning (which probably existed, because the esoteric meaning of secret and initiatory rites is recorded throughout the world and at all levels of culture ).

Moreover, the morphology of eschatological hope should not be reduced to expressions made famous by Orphism or the mysteries of the Hellenic period. The disappearance and epiphany of Dionysus, his descent into Hades (comparable to death and subsequent resurrection), and most importantly - the cult of the Infant Dionysus with the celebration of his "awakening" - even if we leave aside the mythological and ritual theme of Dionysus-Zagreus, to which we will turn a little later - all this indicates the desire for spiritual renewal and hope for it. Everywhere in the world, the child of divine nature is endowed with initiatory symbolism, behind which lies the mystery of the mystical "new birth" (from the point of view of religious experience, it does not matter whether there is a rational understanding of this symbolism or not). Let us recall that already the cult of Sabazius, identified with Dionysus, had a sacramental order ("I escaped evil!"). Of course, immortality is not mentioned in the Bacchae; however, union, even temporary, with the deity does not remain without consequences for the posthumous state bacchos. The presence of Dionysus in the Eleusinian Mysteries allows us to think of an eschatological meaning in at least some of the orgiastic experiences.

But it was precisely from the time of Dionysus-Zagreus that the cult definitely took on mystery features. The myth of the dismemberment of the infant Dionysus-Zagreus is known to us mainly from the works of Christian authors, who, as expected, did not like him, and therefore was presented by them in a fragmentary and tendentious manner. However, thanks to their freedom from the prohibition to talk about sacred and secret things, Christian writers have brought to us a number of valuable details. Hera sends titans to little Dionysus-Zagreus, who at first lure him with toys (rattles, crepundia, a mirror, grandmothers, a ball, a spinning top, a rattle), and then they kill, cut into pieces, boil in a cauldron and, according to some versions, eat them. The heart of Dionysus-Zagreus is received (or she manages to keep it) by the goddess - Athena, Rhea or Demeter - and she hides it in a chest. Upon learning of the crime, Zeus strikes the titans with a lightning strike. Christian authors do not talk about the resurrection of Dionysus, but the ancient authors knew about him. The Epicurean Philodemus, a contemporary of Cicero, writes about the three births of Dionysus: the first from his mother, the second from the thigh of Zeus, and the third, which took place when Rhea put together the pieces of his body, torn apart by the titans, after which he returned to life. Firmik Matern concludes his essay with the story that in Crete (where, in his interpretation, the action takes place), this murder is celebrated with annual rituals that reproduce everything that "the child did and experienced at the moment of death": "in the depths of the forests, they scream terribly, depicting the furious throwing of the soul "- as if making it clear that the crime was committed in a moment of madness -" and tearing a living bull to pieces with their teeth. "

The mythological-ritual theme of the suffering and resurrection of the infant Dionysus-Zagreus has given rise to countless controversies, especially in connection with its Orphic interpretations. We will now restrict ourselves to only indicating that the information provided by Christian authors is confirmed in earlier documents. For the first time the name Zagreus is found in the epic poem of the Theban cycle "Alcmaeonis" (VI century BC); it means "great hunter", which corresponds to the wild, orgiastic nature of Dionysus. As for the atrocity of the Titans, Pausanias (VIII, 37.5) tells something about it, and this testimony remains valuable to us, despite the skepticism of Vilamowitz and other researchers. Pausanias reports that a certain Onomacritus, who lived in Athens in the 6th century BC. e., under the Pisistratis, wrote a poem on this topic: "Taking the name of the titans from Homer, he established Dionysian orgies, making the titans villains and tormentors of the deity."

According to this myth, the titans, before approaching the baby, were smeared with alabaster so that they would not be recognized. So, in the Sabazian mysteries held in Athens, one of the initiatory rites consisted in the fact that the faces of the initiates were covered with chalk or alabaster. These facts have been linked together since antiquity (cf. Nonnus. Dionys, 27, 228 sq.). But in fact, we have here one of the forms of an archaic initiatory ritual, well known in primitive societies: the initiates rub their faces with chalk or ash to resemble ghosts, that is, they go through ritual death. "Mystical toys" have also been known for a long time: in the papyrus of the 3rd century BC. BC, found in Fayyum and, unfortunately, spoiled, mentions a top, a rattle, bones and a mirror (Orphicorum, fr. 31).

The most dramatic episode of the myth - and especially the fact that, having tore a child to pieces, the titans threw pieces of his body into a cauldron, boiled, and then fried - was known as early as the 4th century; moreover, all these details were "rehearsed" in connection with the celebration of the Mysteries. Euphorion knew about a similar tradition in the third century (ibid., P. 53). Jeanmère convincingly showed that boiling in a cauldron and going through fire are initiation rites that confer immortality (cf. the story of Demeter and Demophon) or rejuvenation (the daughters of Pelias stabbed their father and boiled in the cauldron).

Thus, in the "atrocity of the titans" we can recognize an ancient initiatory script, the original meaning of which has been forgotten. Titans behave like "masters of initiation", that is, they "mortify" the initiate so that he is "reborn" at a higher level of existence (in our example, they give the baby Dionysus a divine nature and immortality). However, in the religion that proclaimed the absolute supremacy of Zeus, the titans could only play a demonic role, for which they were incinerated by Zeus' lightning. According to some versions of this myth, important to the Orphic tradition, humans were created from the ashes of the Titans.

The initiatory nature of the Dionysian rites was also felt in Delphi, when women honored the reborn god. As Plutarch (De Iside, 35) testifies, in the Delphic basket lay, ready for rebirth, torn to pieces by Dionysus-Zagreus, and this Dionysus, "who was reborn under the name of Zagreus, was at the same time the Theban Dionysus, the son of Zeus and Semele"

Perhaps Diodorus of Siculus also has in mind the Dionysian mysteries when he writes that "Orpheus transferred the torn to pieces of Dionysus into the mystery rites" (V, 75.4). And elsewhere, Diodorus presents Orpheus as a reformer of the Dionysian sacraments: "That is why the initiation rites in honor of Dionysus are called Orphic" (III, 65.6). The message of Diodorus is valuable to us insofar as it confirms the existence of the Dionysian mysteries. But at the same time, it is likely that already in the 5th century BC. NS. these ordinances contained some "Orphic" elements. Then Orpheus, in fact, was proclaimed "the prophet of Dionysus" and "the founder of all initiations" (see Volume II, Chapter 19).

Dionysus surprises us more than all other Greek gods with his numerous and unusual epiphanies, the variety of his transformations. He is always on the move; he penetrates everywhere - to all countries, to all peoples, to all religious systems, ready to intermarry with a variety of deities (even with such antagonists as Demeter and Apollo). In fact, he is the only Greek god who, with his diversity, amazes the imagination and attracts ignorant villagers, the intellectual elite, and politicians, and hermits, and lovers of orgies, and ascetics. Intoxication, eroticism, the fertility of the world, and also unforgettable experiences: when the dead periodically appear, when a person is seized mania, when he sinks into animal unconsciousness, when he experiences ecstasy enthousiasmes,- and all these delicious and chilling sensations have one source - presence deities. By the very way of existence, this deity expresses the paradoxical unity of life and death. That is why Dionysus was so radically different from the Olympians in the type of his divinity. Did he stand closer to man than other gods? Hard to say; but one could approach him, one could even let him into oneself; and ecstasy manias served as proof that human limitation is surmountable.

His rituals developed unexpectedly. Dithyrambe, tragedy, satirical drama are, to a greater or lesser extent, a Dionysian product. It is extremely interesting to trace how the transformation of the collective rite went dithyrambes, including ecstatic fury, in the performance, and then in the literary genre. If some public rites became spectacles and made Dionysus the god of the theater, others, secret and initiatory, turned into mysteries. Orphism owes much to the Dionysian tradition, at least indirectly. Other Olympians cannot be compared to Dionysus, this a young god who never ceased to delight fans with his new epiphanies, unexpected messages and eschatological hopes.

Notes:

This highly archaic idea survived into Mediterranean antiquity; not only were animals sacrificed instead of people (a custom ubiquitous), but people were also sacrificed instead of animals. Wed: Walter Burkert. Homo Necans, p. 29, p. 34.

David R. Harris. Agricultural systems, ecosystems and the origins of agriculture. - The Domestication and exploitation of plants and animals, p. 12.

William Solhein. Relics from two diggings indicate Thais were the First Agrarians. - New York Times, January 12, 1970.

Hainuwele is a cultural heroine of the Vemale people (Eastern Indonesia), whose murder brought death to the world, and with it - fertility (see Myths of the peoples of the world. Vol. 2. P. 576).

Wed: Eliade. Aspects du mythe, p. 132 sq.

Cm.: Atuhiko Yoshida. Les excrétions de la Déesse et l "origine de l" agriculture.

Pindar, fr.85; Herodotus II, 146; Euripides. Bacchae, 92 sq .; Apollodorus, Bibl., III, 4.3. sq.

In the Iliad (XIV, 323) she is called "Theban", and Hesiod in the Theogony, 940 sq. speaks of her as a "mortal woman".

Cm.: H. Jeanmaire. Dionysos, p. 76. Jeanmaire. On Lycurgus and the initiations of the youths see: Idem. Couroï et Courètes, p. 463 sq.

On the tablet of the Cretan Linear B from Pylos (X a O 6).

See about this: Losev A.F. Decree. op. P. 142.

Agryony is a holiday in honor of Dionysus in Boeotia.

Anfesteria, antesteria - a spring holiday associated with the cult of Dionysus. The first day was called the opening day of pithos (wine barrels), the second - “mugs” (khoi): these days the statue of Dionysus was taken around the city in a boat on wheels (images of such boats are known among petroglyphs of the Bronze Age - such boats have survived in the tradition of European carnivals ). The last day was called "pots" and was associated with the cult of ancestors: food for the souls of the dead (and other spirits of the underworld - ker) was taken out in pots.

Attempts were made to represent Dionysus as the god of the tree, or grain, or grapes, and the myth of his dismemberment was considered as an illustration of the preparation of wine or the "passion" of cereals (see the mythographers mentioned by Diodorus of Siculus, III, 62).

The fact that two of them bear the names of their respective months - the leneon and anfesterion - testifies to their antiquity and Panhellenic character.

In the Eleusinian Mysteries, the spirit of the processions of Iacchus was identified with Dionysus; cm.: W. Otto. Dionysos, p. ten; Wed: Jeanmaire. Dionysos, p. 47.

This is, of course, an extremely ancient scenario, pervasive throughout; being one of the most important remnants of prehistoric times, it still retains a special place in all types of societies.

We are talking about a completely different alliance than, for example, the alliance of Bel in Babylon with the hierodule (which took place when the god was in the temple) or Apollo with the priestess who had to sleep in his temple in Patara in order to receive knowledge directly from God and then transmit it through the oracle; cm.: Otto. Dionysos p. 84.

The expulsion of the souls of the dead invited to the calendar festival is known, in particular, to the Iranian tradition (see above about the fravashi) and the Slavs (the expulsion of souls and evil spirits at Christmas time).

Sophocles. Thyestes (fr. 234); other sources are quoted by V. Otto: Otto. Dionysos, pp. 98–99.

There are other examples of the "madness" sent by Dionysus in response to the non-recognition of his divine nature, for example, the madness of the women of Argos (Apollodoms, II, 2.2, III, 5.2) or the daughters of Minius in Orchomenos, who tore the son of one of them (Plutarch. Quaest., Fr. XXXVIII, 299e).

In the fifth century, Thebes became the center of the cult, since it was there that Dionysus was conceived and there was the tomb of Semele.

Translation by I.F. Annensky.

Tiresias nevertheless defends God: "Of course, it is not Dionysus's business to teach women modesty / It is a gift / of Nature itself. Pure in soul / And the dance in Bacchus will not be corrupted" ("Bacchantes", 317-20).

What distinguishes a shaman from a psychopath is the ability to heal himself on his own and become, as a result, a more resilient and creatively stronger personality than others.

Rohde compares the spread of the ecstatic religion of Dionysus to the epidemics of convulsive dancing in the Middle Ages. R. Eisler (R.Eisler) drew attention to the Isāwiyya, who practiced ritual homophagy (called frissa, from the verb farassa,"tear"). Mystically identified with the predators, whose names they bore (jackals, panthers, lions, cats, dogs), members of the brotherhood tore, gut and eat bulls, wolves, rams, sheep and goats. After chewing on raw meat, the participants indulged in a frantic, jubilant dance, "to enjoy wild ecstasy and get in touch with the deity." (R. Brunel).

According to ancient interpretations, the term saboi(or sabaioi) in Phrygian language was the equivalent of Greek bacchos; Jeanmaire. Dionysos, pp. 95-97.

See: Nonn Panopolitan. The deeds of Dionysus.

Zalmoxis, Salmoxis - Thracian (Getan) god mentioned by Herodotus (IV. 94–96). The Thracians sent a messenger to him, piercing the messenger with spears. Herodotus tells (in the spirit of the aforementioned Greek author Eugemer) that Zalmoxis was a slave of Pythagoras, from whom he learned wisdom; freed, he gained great wealth and appeared in Thrace. He promised immortality to his companions in Thrace. To assure them of his supernatural abilities, he hid in secret peace, and the Thracians began to mourn him as dead. On the fourth he appeared again, and they believed in his teaching. A special work of Eliade himself is dedicated to Zalmoxis: De Zalmoxis à Gengis-Khan, P., 1970.

In this regard, it should be remembered that during the Anfesteries, some rituals were performed exclusively by women and in the strictest secrecy.

The cult of the Infant Dionysus was known in Boeotia and Crete and tended to spread throughout Greece.

Firmicus Maternus. De errore profanarum religionum, 6; Clement d "Alexandria. Potreptikos, II, 17, 2; 18.2; Arnobus. Adv. Nat., V, 19; the texts are reproduced in: O. Kern. Orphicum fragmenta, pp. 110-111.

Philodemus. De piet., 44; Jeanmaire. Dionysos, p. 382.

Fr. 3, Kinkel. vol. 1, p. 77; Euripides. Fr. 472; Callimachos (fr. 171) holds that Zagreus is a special name for Dionysus; for other examples see: Otto. Dionysos, p. 191 sq.

Demosthenes. De corona, 259. To participate in the Dionysian festivals, the Argives covered their faces with chalk or alabaster. chalk (titanos) emphasized the connection of the episode with the titans (Titanes). But this mytho-ritual complex arose due to the confusion between the two terms (cf .: Farnell. Cults, vol. 5, p. 172)

Wed the "problem" attributed to Aristotle (Didot. Aristote IV, 331, 15), which, following Salomon Reinach, is discussed by Molyneux (Moulinier. Orphée et l "orphisme, p. 51).

Jeanmaire. Dionysos, p. 387. For other examples, see: Marie Delcourt. L "oracle de Delphes, p. 153 sq. The same two rituals - dismemberment and placement in boiling water or passage through fire - are also characteristic of shamanistic initiations.

Eliade's reference to Plutarch in this case is inaccurate: in his work there is no mention of the cradle-basket itself, in which, according to Orphic myth, Zagreus was torn to pieces by the titans. But Dionysus himself is called Liknit, from lïknon- baskets with the first fruits of the harvest, which were offered to God.

Delcourt, pp. 155, 200. Having told about the torn to pieces and resurrection of Osiris, Plutarch turns to his friend Klee, the leader of the maenads in Delphi: "That Osiris is the same Dionysus, who can know better than you, who controls the fiads, whom his father initiated into the mysteries of Osiris?"

Dithyrambe, "a circular dance, the rhythmic movements of which, ritual exclamations and outcries evoked collective ecstasy during the sacrifice, managed - and it was in that period (VII-VI centuries), when the great genre of choral lyrics was developing in the Greek world - to evolve into a literary form due to the fact that it increasingly included vocal fragments performed by exarchon, as well as lyrical passages on themes more or less connected with episodes of life and with the personality of Dionysus " (Jeanmaire. Dionysos, pp. 248-249).

Dionysus is the god of harvest, winemaking and wine, ritual madness and fertility, theater and religious ecstasy.

Wine occupied an important part in Greek culture, therefore Dionysus was the beloved god of the inhabitants.

The origins of the emergence of the cult of Dionysus have not yet been determined. Some historians are inclined to think that the cult of God came from the east, others say that the sources of the cult's appearance come from the south, from Ethiopia.

Dionysus was one of the twelve Olympian gods; he was born of a mere mortal. Large-scale holidays (mysteries) dedicated to Dionysus, with songs, dances and wine, are considered the ancestors of the theater.

In the earliest Greek artifacts, Dionysus is depicted as a mature man with a beard and clothing. Usually he had a staff with him. A little later, images began to appear with a naked, young Dionysus, combining the functions of the male and female principles (hermaphrodite).

Usually the god is accompanied by maenads and satyrs with erect penises, the whole procession has fun, dances and performs some musical compositions. God himself often sits in a chariot drawn by tigers and lions.

Dionysus is associated with the protector of all those who were expelled or not recognized by society, therefore God is associated with some chaotic and dangerous force, the use of which can lead to unexpected consequences (it is quite possible that this was due to the action of wine).

He is also known as Bacchus (Bacchus) in the Roman tradition, and the mysteries dedicated to God were called bacchanals.

According to legend, wine, music and dances free a person from everyday worries, fear and sadness, and also give strength.

The cult of Dionysus is also associated with the underworld: his maenads feed the dead with special offerings, and God himself acts as an intermediary between the living and the dead.

In Greek mythology, Dionysus was also conceived by a mortal woman - Semele. Hera, the wife of Zeus, was angry when she learned that the supreme god was again inflamed with a passion for an ordinary woman.

Reincarnated into an ordinary mortal, Hera convinced the pregnant Semele that she was bearing the son of Zeus the Thunderer himself. A woman, succumbing to doubts, once asked Zeus to prove her greatness to her. The Supreme God refused the woman, because he knew that mortals could not bear the manifestations of his higher power.

However, Semele was persistent, and Zeus proved his divine nature by spewing thunderbolts of lightning, shaking the earth around him. Semele could not stand this action and died on the spot.

Frustrated, Zeus saved his unborn son by stitching him into his thigh. A few months later, Dionysus was born on Mount Pramnos on the island of Ikaria, where Zeus hid the child from the all-seeing Hera.

In the Cretan version of the story of the birth of Dionysus, which belongs to the pen of Diodorus Siculus, the god is the son of Zeus and Persephone.

The name of Hera is also found here: according to legend, she sends the titans to the baby Dionysus, so that they tore him to pieces. However, the almighty Zeus saves the boy.

Childhood and adolescence of Dionysus

According to the myth, in infancy, Dionysus was cared for by Hermes. According to another version, Hermes gave the boy to be raised by Tsar Atamas and his wife Ino, Dionysus's aunt. Hermes wanted the couple to hide Dionysus from Hera's wrath. There is another story: as if Dionysus was raised by nymphs.

When Dionysus grew up, he discovered that a wonderful juice can be extracted from the vine, which has amazing properties.

Doomed the young god to madness, and he had to wander around the world. However, he found like-minded people and taught them how to make wine.

Dionysus was in, Spain, Ethiopia,. From these wanderings, a legend was born that this is how wine literally conquered the whole world.

Dionysus was extremely attractive. One of the Homeric hymns tells how, disguised as a mortal sitting on the coast, several sailors noticed him and assumed that he was a prince.

The fishermen wanted to steal him and sail away, asking for a large ransom for God. However, Dionysus turned into a lion and killed everyone on the ship.

Dionysus in mythology

The name of Dionysus is also associated with the myth of King Midas. Once, discovering that his mentor, the wise Silenus, disappeared, God unexpectedly found him visiting King Midas. For the return of his beloved teacher, Dionysus offered the king to fulfill any of his wishes.

The greedy king deigned that everything he touched turned into gold. Dionysus complied with his request.

However, the king soon realized that food, water, and the people he touches become golden. The king begged Dionysus to return everything to normal, he was ready to give up his desire.

God had mercy: Midas plunged into the Pactol River, and the spell was lifted. Dionysus is also mentioned in the myths of Penteus, Lycurgus, Ampel and others.

Introduction

2.2 Theater of Dionysus in Athens

Conclusion

Bibliography

Introduction

antique art cult of dionysus

Ancient art, which was born in Ancient Greece and Ancient Rome, served as the ancestor of all subsequent Western art, it is both part of the spiritual experience of all mankind, and the basis for the formation of the cultures of many countries, especially European ones. And an important role in the art of antiquity is played by the cult of Dionysus - the god of dying and reviving nature, the patron saint of winemaking and theater. Since its establishment in Hellas, the Dionysian cult has been closely associated with almost all spheres of life in ancient Greek society: economic, political, cultural, spiritual.

The Greeks liked to repeat: "Measure, measure in everything." But was this frequent reference to "measure" not a hint that the Greeks were in some way afraid of themselves? Dionysianism showed that under the cover of common sense and an orderly civil religion, a flame bubbled, ready to burst out at any moment.

Before the discovery of the Mycenaean culture, many researchers believed that Dionysus came to Greece from the barbarian lands, since his ecstatic cult with frantic dances, exciting music and immoderate drunkenness seemed alien to the researchers to the clear mind and sober temperament of the Hellenes. The Dionysian line in the history of the Greek spirit was very strong and had a deep influence on the entire Hellenic consciousness, and its ecstatic cult was reflected both in the art of antiquity and in the art of subsequent eras.

Chapter 1. Dionysus and his cult in Greece

1.1 Origin and deeds of Dionysus

Son of Zeus, Dionysus, I am with the Thebans.

Here once was Semele, daughter of Cadmus,

I was born prematurely,

Struck by Zeus' fire.

From a god, becoming a man in appearance,

I walk up to the streams of my dear rivers ...

Euripides. Bacchae. 1-6

Dionysus is the ancient Greek god of the fertile forces of the earth, vegetation, viticulture, winemaking. It is believed that this deity was borrowed by the Greeks in the east - in Thrace (of Thracian and Lydian-Phrygian origin) and spread in Greece relatively late and with great difficulty was established there. Although the name of Dionysus is found on the tablets of the Cretan linear script as early as the 14th century. BC, the spread and establishment of the cult of Dionysus in Greece dates back to the 8-7 centuries. BC. and is associated with the growth of city-states (policies) and the development of polis democracy. During this period, the cult of Dionysus began to supplant the cults of local gods and heroes. From the beginning of the 2nd century BC. NS. the cult of Dionysus is established in ancient Rome.

Traditionally, it is believed that Dionysus was the son of Zeus and Semele ("earth"), the daughter of Cadmus and Harmony. Upon learning that Semele was expecting a child from Zeus, his wife Hera in anger decided to destroy Semele and, assuming the appearance of either a wanderer, or Beroi, Semele's nurse, inspired her with the idea of ​​seeing her beloved in all divine splendor. When Zeus again appeared at Semele, she asked if he was ready to fulfill any of her wishes. Zeus swore by the waters of Styx that he would fulfill it, and the gods cannot break such an oath. Semele asked him to hug her in the form in which he hugs Hera. Zeus was forced to comply with the request, appearing in a flame of lightning, and Semele was instantly engulfed in fire.

Zeus thunders thundered -

The agony of childbirth came:

Without informing, she spewed

Bromium mother from the womb

And under a lightning strike

She ended her life prematurely ...

Zeus managed to snatch the premature fetus from her womb, Hermes sewed it into Zeus's thigh, and he successfully carried it out. Thus, Dionysus was born from the thigh by Zeus. In the painting of Ctesilochus, Zeus giving birth to Dionysus was depicted in a miter and groaning like a woman, surrounded by goddesses. This is why Dionysus is called "twice born" or "child of double doors".

But he accepted the ejected one

Zeus into his immediate bosom,

And, melting from Hera's son,

He skillfully at his hip

Fastened with a buckle in gold.

100 When the time came for him,

He gave birth to a horned god,

I made a wreath of snakes for him,

And since then this wild booty

The maenad is wrapped around the brow.

There are also alternative versions of the birth of Dionysus.

According to the legend of the inhabitants of Brasia (Laconic), Semele gave birth to a son from Zeus, Cadmus imprisoned her in a barrel together with Dionysus. The barrel was thrown to the ground by Brasius, Semele died, and Dionysus was brought up, Ino became his nurse, raising him in a cave. Another of Dionysus's educators was Silenus, a constant participant in the Bacchic festivities. On ancient monuments of art, Silenus, as a rule, was depicted as an obese, lustful and often drunk old man, with a huge belly, accompanied by satyrs and nymphs and surrounded by cheerful smiling cupids. Satyrs (Roman Fauns) are fantastic humanoid creatures, also included in the retinue of Dionysus. Their cheerful, witty nature gave the name to the comic poems, which became known as satyrs. There are several ancient sculptures where Silenus nurses little Dionysus. In the antique group from the Louvre, which bears the name "Faun and Child", Silenus is represented as a fine looking, caring teacher, in whose arms lies the infant Dionysus.

According to the Achaean story, Dionysus was raised in the city of Mesatis and here he was endangered by the Titans.

The myths involving Semele, the second mother of Dionysus, have a continuation about the education of God.

To protect his son from the wrath of Hera, Zeus gave Dionysus to be raised by Semele's sister Ino and her wife Athamante, the king of Orchomen, where they began to raise the young god as a girl so that Hera would not find him. But it did not help. The wife of Zeus sent madness to Afamant, in a fit of which Afamant killed his son, tried to kill Dionysus, and because of which Ino and his second son had to throw themselves into the sea, where they were accepted by the Nereids.

Lush-haired nymphs suckled the baby, having adopted

To his chest from the lord-father, and lovingly in the valleys

The nymphs raised him. And by the will of the parent Zeus

He grew up in a fragrant cave, ranked among the host of immortals.

After he grew up goddesses by the care of the eternal,

Dionysus, many singing, rushed into the distance along the logs of the forest,

Crowned with hops and laurel, the nymphs hurried after him,

He led them forward. And the whole immense forest thundered.

Then Zeus turned Dionysus into a kid, and Hermes carried him to the nymphs in Nisa (between Phenicia and the Nile). The nymphs hid him from Hera, covering the cradle with ivy branches. Brought up in a cave on Nisa. After the death of the first educators, Dionysus was given to be raised by the nymphs of the Nisey Valley. There, the mentor of the young god Silenus, revealed to Dionysus the secrets of nature and taught him how to make wine.

As a reward for raising his son, Zeus transferred the nymphs to the sky, so, according to the myth, in the sky of Hyades, a cluster of stars in the constellation Taurus next to the star Aldebaran appeared.

Many monuments of ancient art have survived, embodying the image of Dionysus and the plots of myths about him in plastic (statues and reliefs) and vase painting. Scenes of the procession of Dionysus and his companions, orgies, were widespread (especially in vase painting); these plots are reflected in the reliefs of the sarcophagi. Dionysus was portrayed among the Olympians (reliefs of the eastern frieze of the Parthenon) and in scenes of gigantomachy, as well as sailing on the sea (cilicus Exekia "Dionysus in the boat" and others) and fighting the Tyrrhenians (relief of the monument to Lysicrates in Athens, ca. 335 BC .).

In the Renaissance, the theme of Dionysus in art is associated with the affirmation of the joy of being. Artists loved to depict Bacchic festivities full of unbridled joy and wild revelry, in which the entire retinue of Dionysus took part. The beginning of their image was laid by A. Mantegna. A. Dürer, A. Altdorfer, H. Baldung Green, Titian, Giulio Romano, Pietro da Cortona, Annibale Carracci, P.P. Rubens, J. Jordaens, N. Poussin addressed the plot. In their paintings, the god is presented in all the splendor of youth and beauty, surrounded by his retinue and the Olympic gods, with his invariable attribute - the vine. The plots "Bacchus, Venus and Ceres" and "Bacchus and Ceres", which are especially popular in baroque painting, are permeated with the same symbolism. Dionysus occupies a special place among other antique characters in Baroque garden sculpture. The most significant works of the 18th - early 19th centuries are the statues of "Bacchus" by J.G.Danneker and B. Thorvaldsen.

Accompanied by a cheerful company, Dionysus, marching on the earth, passed all countries, up to the borders of India, and everywhere he taught the peoples to cultivate grapes. Probably, the statue with his image is associated with the eastern campaigns of Dionysus, which for a long time was known under the name of Sardanapalus - because of the inscription made at a later time. Art connoisseurs recognized in her the image of Dionysus (a type of Eastern Bacchus) in the image of a handsome, stately bearded old man, draped in long ceremonial clothes.

During one of his processions, Dionysus met the beautiful Ariadne - the daughter of the legendary king Minos, whom Theseus, captivated by her beauty, took away from the island of Crete. This plot formed the basis of Titian's painting "Bacchus and Ariadne", where God is presented in a rapid movement among bacchantes and satyrs. Leopards and snakes - creatures dedicated to Dionysus, accompany his cortege. It also contains the indispensable attributes of the Bacchic festivities - tympanum and thyrsus (thyrsus is a stick, densely entwined at one end with ivy). According to legends, at the wedding feast in honor of the marriage of Dionysus and Ariadne, the bride was presented with a radiant crown. (Relief "Wedding Procession"). But this union was short-lived: the god of wine and fun soon left his wife during her sleep, once doubting her loyalty. Dionysus was also awarded the love of the beautiful Aphrodite, who bore him two sons: Hymeneus, the god of marriage, and Priapus, the deity of the fertile forces of nature.

Dionysus severely punished those who did not recognize his cult. So, in one of the legends, which formed the basis of the tragedy of Euripides "Bacchae", tells about the sad fate of Theban women, struck by the will of Dionysus by madness because they did not recognize his divine origin. And the Theban ruler Pentheus, who prevented the worship of Dionysus in Thebes, was torn to pieces by a crowd of raging Bacchantes led by his mother Agave, who took her son in a state of ecstasy for a bear.

Wherever Dionysus appears, he establishes his own cult; everywhere on its way teaches people viticulture and winemaking. In the procession of Dionysus - (mosaic "Dionysus on a Panther"), which was of an ecstatic nature, Bacchantes, satyrs (painting "Dionysus and Satyrs"), maenads or Bassarids (one of the nicknames of Dionysus - Bassarei) with thyrsus (wands) entwined with ivy took part. Belted with snakes, they crushed everything in their path, seized by sacred madness. With cries of "Bacchus, Evoe" they glorified Dionysus-Bromius ("stormy", "noisy"), beat the tympans, reveling in the blood of torn wild animals, carving honey and milk from the ground with their thyrsus, uprooting trees and dragging crowds with them men and women. The first women who took part in the Mysteries of Dionysus-Bacchus were called Bacchantes or Maenads. Art made no distinction between the two. But Euripides says that there is a difference in mythology: the bacchantes are Greek women, the maenads are Asian, who came with Bacchus after his campaign in India. Not a single holiday, not a single procession was complete without bacchantes and maenads. In a wild dance, deafening and exciting themselves with the loud music of flutes and tambourines (tympans), they rushed through the fields, forests and mountains to complete exhaustion. The famous Greek sculptor Skopas in 450 BC NS. sculpted a dancing maenad, about which we can judge by a small copy, unfortunately, badly damaged. Menada, whose image is saturated with emotional dynamics, is presented in a frantic dance that strains the entire body of the Maenad, arching her torso, throwing her head back, bordering on frenzy.

In one of the Thracian villages, according to a Greek folk legend, there lived an old sad homeless goat. However, in the fall, amazing changes took place with him: he began to jump cheerfully and playfully cling to passers-by. The goat stayed in this state for some time, then returned to its despondency. The peasants were interested in the goat's unexpected mood swings, and they began to follow him. It turned out that the animal's mood changed for the better after it walks through the vineyard and eats the remaining bunches after harvest. As a rule, crushed, dirty bunches remained in the fields. Grape juice fermented and transformed into intoxicating wine. It was from him that the goat got drunk. People tried this delicacy and for the first time felt the effect of alcohol on themselves. The goat was recognized as the inventor of wine and was hailed as a god. Apparently, it was from that moment that Dionysus began to take the form of a goat.

The Dionysus goat is no different from the minor gods - Panov, Satyrov, Selenov, who were closely related to him and were also more or less often depicted in a goat's guise. Pan, for example, was invariably depicted by Greek sculptors and painters with the face and legs of a goat. Satyrs were portrayed with pointed goat ears, and in other cases with piercing horns and a tail. Sometimes these deities were simply called goats, and the actors who acted as these gods wore goat skins. Ancient artists portrayed Selena in the same dress.

Also, Dionysus was often depicted as a bull or a man with horns (Dionysus Zagreus). This was the case, for example, in the city of Cyzicus, in Phrygia. There are antique images of Dionysus in this hypostasis, so, in one of the statuettes that have come down to us, he is shown dressed in a bull's skin, the head, horns and hooves of which are thrown back. In another, he is depicted as a child with a bull's head and a wreath of grapes around his body. Such epithets as "born of a cow", "bull", "bull-shaped", "bull-headed", "bull-headed", "bull-horned", "cuckold", "two-horned" were applied to God.

After a short time, the cult of Dionysus and the mysteries that accompanied him spread from Thrace throughout Greece, and then (from the 3rd century BC) throughout the empire of Alexander the Great. Wherever the young god appeared, he was accompanied by bursts of enthusiasm and orgy.

Before the discovery of the Mycenaean culture, it was believed that Dionysus was an alien god who was worshiped by the barbarians and one day began an offensive against civilized Hellas. However, it has now been established that this opinion was not entirely accurate. Achaean inscriptions testify that the Greeks knew Dionysus even before the Trojan War. Gradually, the cult of Bacchus began to supplant the cults of local gods and heroes. Dionysus, as the deity of the agricultural circle, associated with the elemental forces of the earth, is constantly opposed to Apollo, as the deity of the tribal aristocracy. He was the antipode of the aristocratic Olympians-gods who defend the interests of the communal-clan nobility. For a long time, his cult was persecuted due to its orgiastic nature, and only in 536-531 BC. was equated with the official common Greek cults, and Dionysus himself was included in the Olympic divine pantheon.

Chapter 2. Holidays in honor of Dionysus

2.1 The emergence of the ancient theater

Come quickly, oh lord, to the pressure vat

Be the leader of our night work;

Above the knees, picking up your clothes and a light leg

Moisten with foam, revive the dance of your workers.

And directing talkative moisture into empty vessels,

Take the tortillas as a sacrifice along with the shaggy vine.

Quint Meky. Prayer of the winemakers to Bacchus.

Holidays were one of the most important aspects of the cult of Dionysus in Greece. In Attica (an area in the southeast of Central Greece with the center in Athens), magnificent festivities were held in honor of Dionysus. Several times a year there were festivities dedicated to Dionysus, at which praises (songs of praise) were sung. The mummers who made up the retinue of Dionysus also performed at these festivities. Participants smeared their faces with wine, put on masks and goat skins. Along with solemn and sad ones, merry and often obscene songs were sung. The solemn part of the holiday gave birth to tragedy, funny and humorous - to comedy.

Tragedy actually means "song of the goats". Tragedy, according to Aristotle, originates from singing praises, and comedy from singing phallic songs. These singers, answering the questions of the choir, could tell about any events in the life of God and encourage the choir to sing. Elements of acting were mixed with this story, and the myth seemed to come to life in front of the participants of the holiday. Initially, the praises in honor of Dionysus, chanted by the chorus, were not distinguished by either complexity, musical diversity, or artistry. And therefore it was a big step forward to introduce a character, an actor, into the chorus. The actor recited the myth of Dionysus and gave remarks to the choir. A conversation was struck up between the actor and the chorus - a dialogue that forms the basis of the dramatic performance.

According to the assumptions of many scholars, the ancient Greek theater arose from the rituals dedicated to this god.

At first, Dionysus was considered the god of the productive force of nature, and the Greeks portrayed him as a goat or a bull. However, later, when the population of ancient Greece got acquainted with the cultivation of vineyards, Dionysus became the god of winemaking, and then the god of poetry and theater.

The historian Plutarch wrote that in 534 BC. a man named Thespides showed a performance - a dialogue between the actor who played the role of Dionysus and the chorus.

From this legendary year, theatrical performances, apparently, became an obligatory part of the holidays of Dionysus.

When performing sacrifices and accompanying magical ceremonies, those present were located in the form of an amphitheater on the slopes of a neighboring hill adjacent to the altar. This is the beginning of Greek theater. The principle of the amphitheater was preserved in the future. Throughout history, Greek theaters have been amphitheatres located at the foot of the hills, in the open air, without a roof or curtain. The Greek theater was a free space that formed a semicircle (amphitheater). Thus, the very design of the Greek theater was based on a democratic principle. Not connected by an enclosed space, Greek theaters could be very large and accommodate a large mass of people. For example, the theater of Dionysus in Athens accommodated up to 30 thousand spectators, but this is far from the largest theater in ancient Greece known to us. Subsequently, in the Hellenistic era, theaters were created that could accommodate 50, 100 and even more than thousand spectators. The main part of the theater consisted of: 1) a koilone - a room for spectators, 2) an orchestra - a place for a choir, and at first for actors, and 3) a stage - a place where the scenery was hung and later the actors performed.

In the middle of the orchestra was the ornate altar of Dionysus.

The back of the stage was decorated with columns and usually depicted the royal palace. Seats for spectators (auditorium) from the rest of the city were fenced off by a wooden or stone wall without a roof.

The sheer size of theaters has led to the need for masks. The audience simply could not see the actor's features. Each mask expressed a certain state (horror, fun, calmness, etc.), and in accordance with the plot, the actor changed his own "faces" during the performance. The masks were a kind of close-ups of the characters and at the same time served as resonators - they amplified the sound of voices. Masks were made of wood or canvas, in the latter case the canvas was stretched over a frame, covered with plaster and painted. The masks covered not only the face, but the entire head, so that the hairstyle was attached to the mask, to which, if necessary, a beard was also attached. The tragic mask usually had a protrusion above the forehead, which increased the height of the actor.

The mask changed the proportions of the body, so the performers stood on koturny (sandals with thick soles), and put on thicknesses under their clothes. The Koturns made the figure taller and the movements more significant. Fabrics brightly colored with natural dyes, from which sophisticated costumes were sewn, also enlarged and emphasized the figure. The color of clothing was endowed with symbolic meaning. Kings appeared in long purple cloaks, queens in white ones with a purple stripe. Black meant mourning or misfortune. Short clothes were required for messengers. Attributes were also symbolic, for example, olive branches in the hands of those asking.

Masks in comedies were caricatured or caricatured portraits of famous people. The costumes usually emphasized an exorbitant belly, a fat bottom. The choir members were sometimes dressed in animal costumes such as frogs and birds in the plays of Aristophanes.

In the ancient Greek theater, the simplest machines were used: ekkklema (a platform on wheels) and eorema. The latter was a lifting mechanism (something like a system of blocks) with the help of which the characters (gods, for example) "took off into the heavens" or fell to the ground. It was in the Greek theater that the famous expression "God out of the machine" was born. Later, this term began to mean an unmotivated denouement, an external, not prepared by the development of action, resolution of the conflict both in tragedy and in comedy.

Actors in ancient Greece were considered respected people. Only a free-born man could play in the theater (they also performed female roles). At first, a choir and only one actor took part in the performances; Aeschylus brought in a second actor, Sophocles a third. One performer usually played several roles. The actors had to not only recite well, but also sing, possess refined, expressive gestures. In a tragedy, the chorus consisted of fifteen people, and in a comedy it could include twenty-four. Usually the choir did not take part in the action - it summarized and commented on the events.

Ancient Greek drama is based on myths. They were known to every Greek, and the viewers were especially interested and important in the interpretation of events by the author of the play and the actors, the moral assessment of the actions of the heroes. The heyday of the ancient theater falls on the 5th century. BC.

In the everyday life of the Greeks, various competitions took up a lot of place: chariot drivers and horsemen competed, and sports Olympics were held every four years. Theatrical performances were also organized as competitions - for both playwriters and actors. The performances were played three times a year: on Great Dionysios (in March), Small Dionysias (late December - early January) and Linea (late January - early February). Tragic poets presented three tragedies and one satire drama to the audience and the jury; comic poets performed individual compositions. Usually the play was performed once, repetitions were rare.

With the introduction of the theoricon (theatrical money that was paid to the poorest citizens), Pericles made the theater accessible to all Athenian citizens.

Theatrical performances were given only on the holidays of Dionysus and were originally part of the cult. Only gradually did the theater begin to acquire social significance, being a political tribune, a place of recreation and entertainment.

The theater provided a high general cultural level of the Greek city-states. He organized, educated and educated the masses of the people. In the Festivities in honor of Dionysus and the accompanying theatrical performances, a socio-political orientation is visible. In the mouths of mythological heroes, playwrights have always put words concerning the most acute problems of our time.

Along with theatrical performances, sports, games, wrestling, musical, literary and many other types of physical and spiritual sports should be noted.

2.2 Theater of Dionysus in Athens

The oldest known theater building is the Theater of Dionysus in Athens, located in the sacred fence of Dionysus on the southeastern slope of the Acropolis, which was rebuilt several times in subsequent eras. Its excavations were completed in 1895 by Dörpfeld.

On two minor remains of the wall, Dörnfeld established a circular orchestra - a terrace with a diameter of 27 m (E. Fichter considers the diameter of this orchestra to be approximately 20 m). It was located on the slope of the Acropolis in such a way that its northern part protruded into the mountain, and the southern part was propped up by a wall that rose in the southernmost part 2-3 m above the level of the sacred fence of Dionysus and in the west was in close contact with the old temple.

There were no stone seats in this theater yet: the audience sat on wooden benches, and, perhaps, on the first bunks and just stood. The Byzantine scholar Svida reports that in the 70th Olympiad (i.e., 499-496 BC) temporary seats collapsed and that after that the Athenians built a theatron, that is, special places for spectators.

Skene did not initially denote a palace or a temple. However, the later plays of Aeschylus and the dramas of Sophocles already demanded a palace or a temple as a backdrop, and on the tangent of the orchestra they began to erect a wooden skene building, on the facade of which 3 doors soon appeared.

At the same time, stage painting also came into use, and painted boards could be placed between the columns of forgiveness. Under Pericles, the theater underwent a restructuring, which probably ended after his death.

The old orchestra was pushed to the north. In this way, a slightly larger space was achieved for the presentation of the actors and for the stage adaptations required by the development of the drama of Sophocles and Euripides. The southern border of the terrace was completely rebuilt, and instead of the old curved support wall, a long (about 62 m) straight wall was erected from large blocks of conglomerate, which supported the terrace. At a distance of about 20.7 m from the western end of the wall, a solid foundation, about 7.9 m long, protrudes towards Skene for about 2.7 m. It is believed that it served as a support for the machines used in the theater. But the skene itself was still made of wood.

A little south of the old temple, a new temple of Dionysus was built, in which was placed a statue of a god made of gold and ivory, carved by Alkamen. The supporting walls of the spectator seats were in contact with the odeon, a building for musical competitions, the construction of which was completed by Pericles in 443 BC. NS. The seating in this rebuilt theater was still made of wood, except perhaps for some places of honor.

There were parascenias. The skene building, when staged, which required the image of a palace or a house, was usually two-story, with the top floor, perhaps, slightly receding back and leaving the actors with space in front and on the sides.

The temple could have a pointed pediment. The Pericles reconstruction was completed by the construction of a stop - a large hall running along the entire length of the new retaining wall, with an open colonnade on its southern side. The next major restructuring of the Athenian theater took place in the 2nd half. 4 c. BC. (completed about 330) and was associated with the name of Lycurgus, who was in charge of Athenian finances.

A permanent stone skene was erected in place of the temporary wooden structures. Parascenias performed for approx. 5 m from the facade of the skene. The facade of the skene had 3 doors. Probably along the facade and on its internal. the sides of the parasenia had columns. Some scholars believe that in the stone theater of Lycurgus there was a wooden request, somewhat receding from the building of the skene and forming a portico

(similar to how it was later in the Hellenistic theater).

The plays were performed as before at the level of the orchestra, in front of the skena, the façade of which was adapted (with the help of movable screens, partitions and other devices) for the presentation of individual plays.

Spectator places, a significant part of which can still be seen in Athens) were built of stone. A double retaining wall was built to support them. In the lower tier, the space for spectators was divided by radially rising stairs into 13 wedges. In the upper tier, the number of stairs doubled. There were 78 rows in total on the hillside. Orchestra was somewhat pushed further north. A canal was built around Orchestra to drain rainwater

Conclusion

Ancient Greece became the cradle of ancient civilization. In Greece, from where the bacchanalia came to Rome, the cult of Dionysus had two types - rural holidays (Dionysius, Lenei, etc.) and orgiastic mysteries, which later gave development to the ancient Greek theater. He gave impetus to the development of theatrical art throughout the world. Although modern theaters have undergone changes, in general, the basis has remained the same. Also, his cult has enriched various types of art: the plots of myths about him are reflected in sculpture, vase painting, literature, painting (especially the Renaissance and Baroque), and even music. The cult of Dionysus was addressed by composers of the 19-20 centuries - A.S.Dargomyzhsky "The Triumph of Bacchus", the divertissement by K. Debussy "The Triumph of Bacchus" and his own opera "Dionysus", the opera "Bacchus" by J. Masne and others.

Bacchanal processions, accompanied by mad dances of the maenads, replete with wine, orgies and music, have inspired and inspire to this day figures of all kinds of art.

Bibliography

Sources of

1. Apollodorus. Mythological library. Ed. prep. V.G. Borukhovich. M., 1993.

2. 2. Virgil. Bucolics. Georgiki. Aeneid / Per. S. Shervinsky and S. Osherov. M., 1979.

3. Homeric hymns / Per. V.V. Veresaeva // Hellenic poets. M., 1999.

4. Euripides. Bacchae / Per. I. Annensky // Euripides. Tragedies. SPb., 1999.

5. Columella. About agriculture / Per. M.E. Sergeenko // Scientists farmers of ancient Italy. M., 1970.

6. Ovid. Fasty / Per. S. Shervinsky // Ovid. Elegies and small poems. M., 1973.

7. Pausanias. Description of Hellas / Per. S.P. Kondratyev. M., 1994.Vol. 1--2.

8. Pliny the Elder. Natural History XXXV 140

9. Titus Livy. History of Rome from the founding of the City / Per. ed. M. L. Gasparova, G.S. Knabe, V.M. Smirin. M., 1993.Vol. 3.

Literature

10. Annensky I.F. Ancient tragedy // Euripides. Tragedies. SPb., 1999.S. 215--252.

11. Bartonek A. Gold-rich Mycenae. M., 1992.

12. Bodyansky P.N. Roman bacchanalia and their persecution in the VI century. from the founding of Rome. Kiev, 1882.S. 59.

13. Vinnychuk L. People, customs and customs of Ancient Greece and Rome. M., 1988.

14. Illustrated history of religions. M., 1993.

15. Losev A.F. Dionysus // Myths of the peoples of the world. Encyclopedia. M., 1987.T. 1.S. 380-382.

16. Losev A.F. Ancient mythology in its historical development. M., 1957.

17. Men A. History of religion: in search of the Way, Truth and Life. M., 1992. T. 4. Dionysus, Logos, Destiny.

18. Men A. History of religion: in search of the Way, Truth and Life. M., 1993. T. 6. On the threshold of the New Testament.

19. Nilsson M. Greek folk religion. SPb., 1998.

20. Torchinov E.A. Religions of the World: Experience of the Beyond: Psychotechnics and transpersonal states. SPb., 1998.

21. Shtaerman E.M. Lieber // Myths of the peoples of the world. Encyclopedia. M., 1987.Vol. 2.P. 53.

22. Shtaerman E.M. Latin // Myths of the peoples of the world. Encyclopedia. M., 1987.Vol. 2.P. 39-40.

23. Shtaerman E.M. Social foundations of the religion of Ancient Rome. M., 1987.

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This research is devoted to the most interesting and controversial period of Russian and European culture, which in Russia has received the metaphorical name "Silver Age". In terms of genre, this is a cycle of essays that have both a share of autonomy and a common organizing methodological core, which is the phenomenon of Dionysianism and Apollonianism (mystical-mystery practices of the Ancient World). The author not only traces the communication of these historically and geographically distant cultures, but also reinforces his position by referring to the original texts of Russian thinkers of the late 19th - early 20th centuries. The book can be used as a teaching aid in the study of the history of Russian culture, the history of philosophy, religion, aesthetics.

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Aspirations on the part of a given objective reality to convert a person into a means and a tool. It is a rebellion of the strong in spirit and in the name of the spiritual power. ”204 It is no coincidence that Nietzsche's philosophy comes to the affirmation of the superman as a natural outcome in the development of the human species. Berdyaev understands the Nietzschean man as a religious-metaphysical idea, believing that “man not only has the right, but must also become a“ superman ”, since“ superman ”is the path from man to God.” 205 But such a problem reading is clearly re-reading the appeal in the doctrine of the superman to the law of natural selection, the principle of the improvement of the species, which causes natural rejection in Berdyaev and gives rise to his reproaches of inappropriate biologism: “Earth's filth adheres to his lofty ideal.” 206 All this, however, does not prevents N. Berdyaev from seeing in F. Nietzsche the most brilliant personality of his time, whose main merit he considered was the criticism of modern morality and the "yesterday" man. “Everything that Nietzsche has valuable and beautiful, everything that will cover his name with unfading fame, is based on one assumption necessary for all ethics, the assumption - the ideal“ I ”, spiritual“ individuality. ”207 Thus, N. Berdyaev rejects the characterization of F. Nietzsche as a brilliant immoralist, and comes to a religious understanding of his teachings and the entire personality of the German philosopher. Noting the influence of the teachings of F. Nietzsche on Russian culture, N.A. Berdyaev in the article “The Russian Idea. The main problems of Russian thought in the 19th century and the beginning of the 20th century "wrote:" What was perceived in Nietzsche was not what was most written about him in the West, not his closeness to biological philosophy, not the struggle for an aristocratic race and culture, not the will to power, but a religious theme. Nietzsche was perceived as a mystic and a prophet. ”208 It was this feature of the Russian perception of the teachings of F. Nietzsche and of Russian thinking in general that gave rise to an amazing gallery of philosophical images of the German thinker. None of the researchers limited themselves in their scientific research exclusively to the socio-political range of issues. Russian criticism on the Nietzschean question in all cases tends to be inclusive, which, however, was largely provoked by Nietzsche himself. Putting at the forefront of his philosophy the idea of ​​the future man and thinking him universally, Nietzsche devoted both his life and his work to serving the new idol. It is this feature of Nietzsche's philosophy, its personal and confessional character, that turned out to be akin to the Russian spiritual tradition, giving rise to a specific phenomenon in Russian thought - the “paradox of Russian Nietzsche”. 204 Ibid, p. 103.205 Ibid., P. 103.206 Ibid, p. 103.207 Ibid, p. 105.208 Berdyaev N.A. Russian idea. The main problems of Russian thought of the XIX century and the beginning of the XX century // On Russia and Russian philosophical culture: Philosophers of the Russian post-October abroad. M., 1990, p. 246. 61 Dionysian Passions and Apollo's Dreams (F. Nietzsche and R. Wagner) F. Nietzsche did not create a strictly scientific complete aesthetic system. He was a principled opponent of consistency as such. In addition, F. Nietzsche's high poetic style always requires interpretation. The problem is further complicated by the fact that his aesthetic views are scattered throughout his work; and even the “purely aesthetic” composition of the first period - “The Birth of Tragedy, or Hellenism and Pessimism” (1872) - is difficult to reduce to a sum of logically connected postulates. This “riddle” of Nietzsche is largely dictated by his position in life - to prophesy. He likens his Zarathustra to the new Messiah, bringing people the light of Truth, the Knowledge of the Greater. His gospel is art, which is the only “metaphysical activity of man in essence.” 209 The reason for such a total interest of F. Nietzsche to art lies in the essential basis of the phenomenon itself: his ability to influence the consciousness and feelings of man and mankind as a whole , to accumulate and artistically reflect the most important ideas, perceptions and values. Especially Nietzsche emphasizes such an ability of art as a rapprochement with religion and borrowing some of its properties and abilities. In the work “Human, Too Human. A Book for Free Minds ”(1878) F. Nietzsche reveals the reason for the actualization of art in the era of general decline of culture, including during the period of religious crisis. He believes that this, paradoxically, leads to an upsurge in the aesthetic sphere and to the birth of art “deeper, more spiritualized, so that it is capable of communicating inspiration and a lofty mood,” 210 like religious teaching, cult action. “The existence of the world can be justified only as an aesthetic phenomenon”, is a thought repeatedly repeated by F. Nietzsche in the pages of his works. This phrase contains an extremely deep meaning, affecting not only the problems of “pure” aesthetics. Along with such issues as a new understanding of the category of “beautiful”, the content and meaning of the creative act, the relationship between art and reality, art and history, genius and society, Nietzsche opens up new horizons also in matters of combining ethical and aesthetic. The new concept of the world as an aesthetic phenomenon allowed Nietzsche to interpret the content and meaning of the cultural-historical process in a different way. Art in the mouth of Nietzsche takes on a new sound, becoming the only possible meaning and basic content of human life. In this context of the metaphysical meaning of art, E. Trubetskoy's conclusion about the main issue of Nietzsche's aesthetics is logical. In his opinion, this is the problem of future art, true art, capable of revealing “the metaphysical unity of all creatures, the unity of the eternal basis of the universe. Works: In 2 volumes. Vol. 1. M., 1990.p.52. 210 F. Nietzsche Human, Too Human. A book for free minds // F. Nietzsche Beyond Good and Evil: Works. M.-Kharkov, 1998, p. 117. 62. ".211 All other problems are drawn into this context, serve as a kind of basis for deriving the basic principles of the art of the future. The posing of the question of the art of the future implies, first of all, the identification of that specific language capable of conveying all the inexpressibility, the transcendence of the divine. “Together with Schopenhauer, Nietzsche saw the highest expression of art in music; because in music we are distracted from every image, we rise above the area of ​​ghostly phenomena in order to contemplate the single essence of the world will, to listen to that single melody that sounds in everything ”, 212 - E. Trubetskoy wrote in a monographic study of 1902. In The Birth of Tragedy, Nietzsche more than once resorts to literal quotations from A. Schopenhauer, identifying music and world will after him; “For music, as said, differs from all other arts in that it is not a reflection of a phenomenon (...) but a direct image of the will itself.” 213 Thus, music, in the interpretation of Nietzsche-Schopenhauer, is not an exclusively aesthetic phenomenon , it is a phenomenon, rather, of a metaphysical order. Music precedes the world of appearances, and thus comes closer to the world of spirits. Referring to A. Schopenhauer, F. Nietzsche postulates: “One could call the world as justly embodied music, as well as embodied will.” 214 Here Nietzsche approaches the Pythagorean idea of ​​music as a universal law of the universe. One of the brilliant ideas of this school - the idea of ​​“harmony of spheres” - makes music (sound) and movement, two essential foundations of the world, directly dependent. The Pythagorean school laid the foundation for the identification of the principles of organizing music as an art form with the laws of the music of the cosmos. This led to the formation of the idea of ​​a "heavenly scale" formed by sounding spheres - celestial bodies: the Moon, the Sun, Venus, Mars, etc. Considering that all of them, like natural phenomena and elements, were deified, then music, as a result of their life, their movement, was associated directly with the language of the gods. It is no coincidence that playing music was an integral part of the upbringing of young men in ancient Greece, as evidenced by Aristotle.215 Moreover, music was attributed not to aesthetic, but to a moral education of the younger generation: “music provides a person with moral education, and how gymnastics forms the body, she is able to form the soul of a person, teaching him to enjoy pure pleasure. ”216 We meet similar thoughts in Plutarch (as retold by EM Braudo), who also considered music“ an invention of the gods ”and a means“ to form the soul of a young man and direct her to good nature. ”217 In him, we find thoughts on the purpose of music in ancient times, which was worship and upbringing by advantage. 211 Trubetskoy E. Philosophy of Nietzsche. A critical sketch // Andreevich E. Nietzsche. M., 1902, p. 20. 212 Ibid, p. 20. 213 Nietzsche F. The birth of tragedy, or Hellenism and pessimism // F. Nietzsche. Op. in 2 volumes.Vol. 1. M., 1990, S. 119. 214 F. Nietzsche The Birth of Tragedy, or Hellenism and Pessimism // F. Nietzsche. Op. in 2 volumes.Vol. 1.SPb., 1998, p. 78.215 See: N. Ostroumov. Aristotle's thoughts on education and the importance of music in education. Tula, 1903.216 Ibid, p. 21.217 Plutarch. About music. Petersburg, 1922, p. 63. 63 Thus, music is that “highly generalized language” 218 which is capable of broadcasting about the One. Music speaks not of the singular, the concrete; “Music gives us the inner core, or heart, of things, which precedes any acceptance of form.” 219 Music is the heart of Dionysus, it is the language of the gods. Nietzsche clearly draws the line between the semblance of life and its beginning, the element of life, music that fills all that exists. He speaks of music as the bearer of true meaning, in contrast to the meanings introduced by various content. “Countless phenomena (...) may accompany one and the same music, but they will never exhaust its essence, and they will always remain only its external reflections.” 220 In his 1871 work On Music and Word, Nietzsche explores the problem of music as a language in conjunction with a word and, in particular, with a poetic word. The reason that pushed Nietzsche to such a formulation of the question, on the one hand, was the concrete fact of the initial interaction of music and lyrics; on the other hand, the philosopher's assumption about the existence of an objective reason for this interaction. This is the reason Nietzsche considers “the dualism of the present language established by nature.” 221 It is this primordial duality that gives rise to the discrepancy between the speech and the tone of the speaker. The first is considered by Nietzsche to be a symbol, “only a representation”, belonging exclusively to the world of phenomena and illusions. Unlike the word, the tone, which is always understandable regardless of the speaker's language, goes back to the primordial will, acting on the same foundations as music, due to which it acquires its universal character. Considering these two components of language - symbolic and musical, Nietzsche explains the basic principles of the evolution of music: from vocal, based on a combination of music and lyrics, to pure, and, in contrast, from free lyrics to dramatic music with the desire to “express music in images ". Nietzsche does not dispute this evolutionary movement on the part of music; on the contrary, he explains it by the ability of music to “generate images from itself, which will always be a scheme and, as it were, an example of its true general content.” 222 Nietzsche outrages the reverse process, when music is used to illustrate poetic words or dramatic action. He denies the applied, service role of music, appealing to the images of the ancient gods Apollo and Dionysus: “How can the Apolloian world of images, completely immersed in contemplation, generate from itself a sound that symbolizes the sphere that was isolated and defeated precisely by the Apollo’s desire for illusion?” 223 Nietzsche outlines a kind of metaphysical structure, within the framework of which he strictly coordinates music and the word in relation to will and representation. The watershed and the key concept of this construction Nietzsche makes human feeling, through which there is an awareness of the global world, world will, the world of music. Feeling itself is based on ideas about higher principles 218 F. Nietzsche Birth of Tragedy, or Hellenism and Pessimism // F. Nietzsche. Op. in 2 volumes.Vol. 1. M., 1990, p. 118. 219 Ibid, p. 120. 220 Ibid., P. 144. 221 F. Nietzsche About music and word // F. Nietzsche. Complete works: in 10 volumes. Vol. 1. M., 1912, p. 188.222 Ibid., P. 190.223 Ibid, p. 190. 64 worlds, but it is always subjective, subordinate in nature, experiencing dependence both on the cosmic will and on the part of the individual. Nietzsche speaks of feelings as “symbols of music”: it is them that the lyricist “hears”, thus approaching music and world will. The feedback from the listeners is also of a dual nature: they can either follow the path of infection with this feeling (affectation), or fall under the power of the music itself (orgasm). The latter excludes subjective feeling, posing the problem of inner activity, instinct and universality. This is the unconditional kingdom of Dionysus, where the force accumulates “which, under the form of will, generates the world of visions.” 224 All this gives Nietzsche reason to say that music is non-individual, therefore, it is not feelings that give rise to music, but it itself provokes a person to them, as well as herself, “chooses for herself the text of the song as an allegorical expression of herself.” 225 As an example, Nietzsche offers the finale of Beethoven's Ninth Symphony. He explains the inclusion of the chorus to the words of Schiller not by the genius of the poetic word or the impotence of symphonic music, but by the thirst for a new tone, new musical color: “Not for a word, but for a more“ pleasant sound ”, not for a concept, but for a deeply joyful tone, the great teacher took on in his yearning for the inspired harmony of the sound of his orchestra. ”226 Nietzsche considers opera to be an opposite example of the dominance of the word-concept over tone-music. Putting the task of clarity, illustrativeness and activity in the foreground, the opera leaves the original musicality of art, turning music into an instrument of influence, into a means. Nietzsche calls this metamorphosis “dramatic music” (as opposed to music for drama), in which he distinguishes between “conventional rhetoric with music of reminders, and stimulating music that acts primarily physically.” 227 With this, modern opera (and opera in general ) is fundamentally different from the Greek tragedy, but, above all, by the division into performers and listeners-contemplators. Both those and others only play their own role. They do not believe in the action being played, therefore, they are spiritually passive. Thus, spectacle and spectacle, illusion prevail. Unlike the Apollonian model, Dionysianism does not tolerate static and contemplation, just as it is incompatible with individualism. The problem of universality comes to the fore, but it does not require clarification, it needs faith with all our souls to self-forgetfulness. All this allows Nietzsche to come to the conclusion that "the main feature of Dionysian art is that it does not take into account the listener: the inspired servant of Dionysus (...) will be understood only by his own kind." , an art capable of healing human souls with a salutary word about the One and Eternal, about life. The musicality of the world, and, consequently, the musicality of the uni-224 Ibid., P. 192.225 Ibid., P. 193.226 Ibid, p. 194.227 Ibid., P. 199.228 Ibid., P. 195. 65. Versal language of art - one of the central questions of Nietzsche's aesthetics. But the acquisition of living music for him is only a condition, a means for creating the art of the future, but not the final and only goal. The second prerequisite for the creation of the art of the future, Nietzsche considers myth, as the plot basis of art, that "significant example" through which music is able to exert its purifying effect. “Without this myth, without faith in the wonderful wisdom of the hoary past, national culture is unthinkable. A people without an epic is a lost people. ”229 The myth is that wonderful dream that helps a person to plunge into a completely special state: when the One, inexpressible in concrete images and phenomena, is revealed to his clouded gaze. Myth is the garment that envelops the omnipotent Dionysus, hiding underneath his unbridled strength and overwhelming unity. Nietzsche considers the mechanical combination of music and myth to be impossible, unnatural (for which he would later reproach R. Wagner). On the contrary, he asserts “the ability of music to give rise to a myth,” 230 explaining this by the uniqueness of the impact of music on a person. On the one hand, it reveals to the final person the secrets of the world - its unity, infinity and greatness; on the other hand, it excites the creative implementation of this knowledge, the result of which is an allegorical image, as one of an infinite number of possible associations. It is this already finite, definite image that becomes especially valuable for man: both as a result of his own creativity, and as a solution to the tragic inconsistency of the infinity of the world and the finitude of man. At the same time, the music, which actually gave birth to the myth, also gives it a special universal significance: “With the help of Dionysian music, an individual phenomenon is enriched and grows into a world picture.” - the myth that protects him from death, from self-destruction of individuality. And here we come to another problem: the embodiment of this universal music of life in a specific work of art is a question that received special coverage in the work of Nietzsche. By the very title of one of his works - "The Birth of Tragedy from the Spirit of Music" - Nietzsche declares the main position of his concept of the art of the future. It was the Greek tragedy, rooted in the mystery of the great god Dionysus, that expressed the idea of ​​the harmony of two elements: the universal and the individual. On the other hand, the tragedy has outgrown the mystery, adding an artistic element and shifting attention from the passions of Dionysus to the fate and suffering of the hero. It is also significant that Dionysus often appears to the world along with his “co-priest” Apollo. Nietzsche saw in the images of the gods of ancient Greece - Apollo and Dionysus - the embodiment of natural phenomena - light and darkness, the most important principles of the world order - life and death, and in general - the Single and Single. In art, Nietzsche differentiates the spheres of influence of Apollo and 229 Rachinsky G.A. The tragedy of Nietzsche. Part 1. Dionysus and Apollo // Questions of Philosophy and Psychology, 1900, no. 55, p. 1002.230 F. Nietzsche The Birth of Tragedy, or Hellenism and Pessimism // F. Nietzsche. Op. in 2 volumes.Vol. 1. SPb., 1998, p. 79. 66 of Dionysus as follows: "Apollo is the radiant god of sleep, the god of prophecy and plastic arts, the god of poetry and pure beauty (...) Dionysus is the god of delight and mystical contemplation of truth, the god of the great art of music." he speaks of the need for the coexistence of both, in which Dionysian art allows a person to plunge into the contemplation of the absolute, “to merge with it in a sense of beauty,” 233 Apollo, however, keeps humanity from the consequences of this fusion, from disappearance, dissolution of the individual in the One, then there is from death. By projecting Apollo and Dionysus onto the human personality - intoxication and dreaming, he reveals the internal causes of the creative act, biological in nature - the idea of ​​the perfect and the fullness of inner strength. Thus, Nietzsche thinks of art as “the need to transform into the perfect.” 234 That is, art is nothing more than the self-realization of a person filled with Knowledge; however, by man, Nietzsche always means an artist, a genius. It is the artist, and only he, who is the prophet who knows about the Greater (Dionysus) and embodies this knowledge by means of art (Apollo). The struggle of these two principles - the one and the individual, the Dionysian and the Apollonian, according to F. Nietzsche, moves the world, humanity and art. Depending on which beginning dominates, we can talk about this or that direction and style in art, moreover, about this or that type of culture. Nietzsche outlines the general drama of this process: “Apollo is shown a service role: to keep and save an individual from (...) death. As long as he is content with this role, humanity is on a straight path; as soon as Apollo conquers and reigns, the fall of humanity sets in; art loses its meaning and serves as a tool not for education, but for the corruption of the individual. " 235 In this context, the parting words of Aristotle, which were already discussed above, are curious. In talking about musical education, among other things, he mentions the fundamental importance of combining music with singing, that is, with the word. At first glance, this is fundamentally opposite to the concept of Nietzsche, who divided the art of music and poetry. At the same time, the vocal support of a musical composition can be compared with this myth, a “significant example,” with the only difference that the dramatic element in vocal music is too weak. Aristotle also grades harmonies, highlighting the four most commonly used types: Dorian Phrygian, Ionian and Lydian. To solve educational problems, he insists on the use of exclusively Dorian harmony, "since it is distinguished by its smoothness and courageous character." 231 Ibid., P. 83.232 Rachinsky G.A. The tragedy of Nietzsche. Part 1. Dionysus and Apollo // Questions of Philosophy and Psychology, 1900, no. 55, p. 986-987. 233 Ibid., P. 981. 234 F. Nietzsche, The Twilight of Idols, or How They Philosophize with a Hammer // F. Nietzsche. Works in 2 volumes. T. 2.M., 1990, p. 598. 235 Ibid, from 981-982. 236 Ostroumov N. Aristotle's thoughts on education and the importance of music in education. Tula, 1903, p. 22.67 (that is, promoting the development of morality), practical (disposed to energy activity) and enthusiastic (leading to Bacchic delight). Thus, already in antiquity, the ability of music to evoke certain feelings in a person and to induce various actions was noticed. It was at that distant time that the task was set to control the listener's reaction and the results of “music therapy”. We find close conclusions in the work of F. Nietzsche "Merry Science" (1882, 1886). In his reflections “On the origin of poetry” he touches on the problem of music, musical influence, and the problem of poetic line, the musical-rhythmic nature of its origin and essence. Nietzsche reveals the reason for the universality of both art forms, which is the rhythm. And if music, by virtue of its rhythm, turned out to be capable of “discharging intense affects, purifying the soul” 237 and, at the same time, pacifying the rage of the gods; then poetry, which also represented a certain rhythmic formula, in the view of the Hellenes, was able to influence the gods and even change fate. "Without verse, man was nothing, but with the help of verse he becomes almost God himself." dramatic music. He emphasizes the fact that over the long period of interaction between music and poetry, a person has learned to intuitively “hear” and “recognize” the language of music, which he associates with the language of his feelings. In fact, according to Nietzsche, this is only the result of a long process of symbolizing music through rhythmic-poetic movement and the meanings introduced by this union. And then he concludes about the possibility of true dramatic music, but only when "musical art acquired a huge sphere of symbolic means through song, opera and many attempts at sound painting." Nietzsche considered Greek tragedy to be the ideal balance of the forces of Apollo and Dionysus in the art of past eras - a synthesis of action, poetic word, live plasticity and music. Tragedy was a popular version of the mystery using the same structural elements: myth, passionate pathos, catharsis, as a result of empathy with the suffering of the hero (Dionysus). The great Dionysias - with their disguises, reincarnations, dances and music - served as the basis for the creation of an ancient tragedy, the plot of which was myth. But unlike mystery, instead of the passions of God, tragedy reveals the passions of the hero, transfers the action from the universal world to the human world. For a long time the tragedy remained close to the sacred game, although it was gradually reborn into pure art. As J. Huizinga noted, the tragedy was mostly 237 F. Nietzsche. Merry Science ("La gaya scienza") // F. Nietzsche. Op. in 2 volumes.Vol. 1. SPb., 1998, p. 672.238 Ibid, p. 673.239 F. Nietzsche. Human, too human. A book for free minds // F. Nietzsche Beyond Good and Evil: Works. M.-Kharkov, 1998, p. 142. 68 “not with literature for the stage, but with an enacted divine service.” 240 Thus, only in the form of tragedy, in the close interaction of its musical essence and mythical content, can mankind taste the sweet Knowledge of the Greater, without fear of dissolving into mute; and it is only thanks to the myth that this latter becomes accessible to man. “The tragic myth can only be understood as the embodiment in images of Dionysian wisdom by Apollonian means of art; he brings the world of appearance to those boundaries where the latter denies himself and again seeks refuge in the bosom of the true and unified reality. " 241 Thus, according to Nietzsche, tragedy is the result of the true unity of Dionysus, in the form of music, and Apollo, in the form of myth; where the first is the basis and the only meaning, the “idea” of the world, and the second is a way of comprehending it. “The tragedy places between the universal meaning of its music and the Dionysically receptive spectator some sublime likeness, myth, and arouses in the viewer the illusion that music is only the highest pictorial means for giving life to the plastic world of myth.” 242 In fact, it is myth that is It is that form, that vision that music excites in us. There can be an infinite number of such phenomena, and “they will always remain only its external reflections.” 243 The goal of the myth is to relieve a person of the heavy burden of physically experiencing suffering, replacing it with stage suffering. In addition, the folk myth expresses the idea of ​​unity, duty and heroism, that is, it performs an educational function. This understanding of tragedy as a universal art reveals in its entirety the mechanism of being and the world, which can be justified only as an aesthetic phenomenon. Universal music brings to man the knowledge of the world; and this knowledge is joyless, since the world, its existence are aimless. The world is self-sufficient in its constant process of circulation. And then, as a way of self-defense, a person turns what he sees into a game, replacing the natural “rhythm of life” with artistic images of myth with obligatory dramatic situations, suffering and the inevitable death of the hero. As a result of this substitution of reality for representation, there is a shift in emphasis from the tragedy of life itself to empathy with the tragedy of the hero; in which a person is distracted from his own problem, thus receiving the desired consolation by means of art - "the art of metaphysical consolation." So, life received its justification (meaning), but only as an aesthetic phenomenon. Within the framework of Nietzsche's worldview, the conclusion about the purpose of art, which the Basel professor comes to, is also logical: “The highest and truly serious task of art is to dazzle the eyes from the horror of the night with the healing balm of illusion to save the subject from convulsions of volitional excitement.” 244 Nietzsche found a certain analogy between European culture and 240 Huizinga J. Homo Ludens; Articles on the history of culture. M., 1997, p. 142. 241 Nietzsche F. The birth of tragedy, or Hellenism and pessimism // F. Nietzsche. Op. in 2 volumes.Vol. 1.M., 1990, p. 145. 242 Ibid., P. 140. 243 Ibid, p. 144. 244 Nietzsche F. The birth of tragedy, or Hellenism and pessimism // F. Nietzsche. Op. in 2 volumes.Vol. 1. SPb., 1998, p. 93. 69 by the culture of ancient Greece. In his opinion, Europe went through the same changes in cultural forms as Ancient Greece, but in the reverse order - “back from the Alexandrian age to the period of tragedy.” 245 Accordingly, in the future, art will inevitably return to tragedy and heroic myth. The problem is how to bring closer the advent of a new era - the era of total creativity. Nietzsche's historicism also finds the right word here, referring to the reasons for the transformation of ancient tragedy and culture as a whole. “If an ancient tragedy was knocked out of its rut ​​by a dialectical impulse to knowledge and optimism of science, then from this fact one could conclude about the eternal struggle between theoretical and tragic worldviews; and only when the spirit of science reaches its limits and its claim to universal meaning is refuted by pointing out the existence of these boundaries, it will be possible to hope for the revival of the tragedy. ”246 With these words, Nietzsche clearly makes it clear the inconsistency of modern knowledge based primarily on scientific knowledge. To revive in a person his natural principle, an intuitive sense of the One - this is the condition for the emergence of a new type of person, and a new art, and a new culture. Nietzsche outlines for us the current state of culture and man in a historical perspective, outlining those tasks of the future that, in his opinion, are predetermined and the only possible ones. He sees his mission in re-evaluating all human values. He deliberately breaks our understanding of the world and of man, so as not to leave a single stereotype of the passing time, as a necessary condition for the construction of a building of a new era, an era of universal creativity. Its destructive power sweeps away everything in its path: authorities, dogmas, moral and social principles. The structure called European civilization is crumbling to the ground; to that cornerstone, which is no longer associated with modernity, which is higher than it, and, therefore, closer to the truth, to life. Nietzsche takes on the heavy burden of being the judge of the world. The purpose of his life is to preach a new religion, a new god - a natural element. By affirming the reality of the only guided world, Nietzsche, thereby, deifies it, endowing natural principles with such power that a person is not able to contemplate them in a natural way. He has no choice but to hide the true with a mask, a sign, a symbol that only hints at Himself, without calling His “name”. This path of symbolization is the language of art. Moreover, the very content of art is a symbolization of being. That is, art contains knowledge about the Existence, without naming Him. Nietzsche's aesthetics deals with related problems, mainly of an ethical nature. He tries to influence a person, his attitude to the world, unchanging in its hopelessness, through the replacement of social guidelines. To make a "reassessment of values", replacing ethical and moral norms with artistic ones - this is Nietzsche's main slogan. He considers it necessary to change not the world itself, which is unchanging, but the attitude towards it: to accept the knowledge of the world, but to brighten up one's existence with the beauty introduced by art. His aestheticization of being is a means of self-defense of humanity. 245 Ibid., P. 94. 246 Nietzsche F. The birth of tragedy, or Hellenism and pessimism // F. Nietzsche. Op. in 2 t. M., 1990, p. 123. 70

The ancient Greeks worshiped many gods, their religion as a reflection of character: sensual, unbridled as nature itself with its elements. Dionysus is one of the beloved gods of the Hellenes, direct evidence that pleasure in their lives took an exclusive and paramount place.

Who is Dionysus?

Dionysus, the god of winemaking, burst into the measured life of the Greeks with his usual gaiety, fury and madness. The younger Olympian is of Thracian descent. Known under other names:

• Bacchus;
• Bacchus;
• Elder Dionysus;
• Zagrey;
• Lieber;
• Dithyramb;
• Ortos;
• Khorey.

Dionysus had the following functions and powers:

• was responsible for the revival of vegetation in the spring;
• patronized farmers;
• taught people the craft of growing grapes and winemaking;
• sent madness to those who did not want to join him;
• considered the "father" of the theatrical genre of tragedy.

Zeus and Semele are considered the parents of the god of wine and the vine. The myth of the birth of Dionysus is shrouded in passion. The jealous wife of the Thunderer Hera, having learned that Semele was pregnant, taking the form of her nurse, persuaded to beg Zeus to appear in divine guise. Semele, when meeting with God, asked if he was ready to fulfill one of her wishes, and he vowed to fulfill any of her whims. Hearing the request, Zeus tore out the still unripe fruit from the womb of his beloved and sewed it up in his thigh, and when the time came, Zeus gave birth to a son, Dionysus.

The cult of Dionysus in ancient Greece was called Dionysius. The grape harvest festivals were called the little Dionysias, accompanied by vivid performances of dressing up, singing, drinking wine. The main Dionysias were held in March - in honor of the reborn god. The earliest versions of the festival of bacchanalia were held under cover of darkness and consisted of wild dances of the maenads in a trance state, ritual copulation. The death of Dionysus, the god in the form of a bull, was played out and the sacrificial animal was torn to pieces, they ate warm meat.

Dionysus Attribute

In ancient works of art, Dionysus was portrayed as a young beardless youth with feminine features. The most important attribute of the god is the staff of Dionysus or thyrsus made of a fennel stem topped with a pine cone - a phallic symbol of the creative principle. Other attributes and symbols of Bacchus:

1. Vine. Twisted around the wand is a sign of fertility and the craft of winemaking;
2. Ivy is believed to be against strong intoxication.
3. The cup - while drinking it, the soul forgot about its divine origin, and in order to be healed it was necessary to drink another - the cup of reason, then the memory of divinity and the desire to return to heaven return.

The companions of Dionysus are no less symbolic:

• Melpomene is the muse of tragedy;
• Maenads are faithful followers or priestesses of the cult of Dionysus;
• panther, tiger and lynx - animals of the feline family denote his ascent and triumph and remind that the cult came from the East;
• the bull is a symbol of fertility and agriculture. Dionysus was often depicted as a bull.

Dionysus - mythology

The Greeks revered nature in all its manifestations. Fertility is an important part of rural life. A rich harvest is always a good sign that the gods are supportive and complacent. The Greek god Dionysus in myths appears to be cheerful, but at the same time wayward and sending curses and death to those who do not recognize him. The Bacchus myths are filled with a variety of feelings: joy, sadness, anger and madness.

Dionysus and Apollo

The conflict between Apollo and Dionysus is interpreted by different philosophers and historians in their own way. Apollo, a radiant and golden-haired god of sunlight, patronized the arts, morality and religion. He encouraged people to observe the measure in everything. And the Greeks, before the arrival of the cult of Dionysus, tried to follow the laws. But Dionysus "burst into" souls and illuminated everything that was unsightly, those bottomless abysses that are in every person and the measured Greeks began to indulge in revelry, drunkenness and orgies, honoring the great Bacchus.

Two opposing forces "light" Apollonian and "dark" Dionysian came together in a duel. Reason collided with feelings, this is how historians describe the struggle between two cults. Light, measure, cheerfulness and science against the cult of the earth, which contains the darkness of the mysteries with the immense use of wine, sacrifice, frantic dances and orgies. But as there is no light without darkness, so in this conflict something new and unusual was born - a new genre of art appeared - Greek tragedies about the temptations and the abyss of the human soul.

Dionysus and Persephone

Dionysus, the god of Ancient Greece and Persephone - the goddess of fertility, the wife of Hades and together with him the ruler of the underworld in ancient Greek mythology, are linked in several legends:

1. One of the myths about the birth of Dionysus mentions Persephone as the mother of his mother. Zeus was inflamed with passion for his own daughter, turning into a snake, enters into a relationship with her, from which Dionysus is born. In another version, Dionysus descends into the underworld and gives the myrtle tree to Persephone so that she can release his mother Semele. Dionysus gives his mother a new name Tiona and ascends to heaven with her.
2. Persephone walked through the meadow of the island of Pergus in Sicily and was abducted by Hades (Hades), in some sources Zagreus (one of the names of Dionysus) into the kingdom of the dead. The inconsolable mother Demeter was looking for a young daughter all over the world for a long time, the land became barren and gray. Having finally found out where her daughter was, Demeter demanded that she return her. Hades let his wife go, but before that he gave her seven pomegranate seeds to eat, which arose from the blood of Dionysus. In the realm of the dead, you cannot eat anything, but Persephone, in the joy that she has to return, ate the grains. From now on, he spends spring, summer and autumn upstairs, and the winter months in the underworld.

Dionysus and Aphrodite

The myth of Dionysus and the goddess of beauty Aphrodite is famous for the fact that an ugly child was born from their fleeting relationship. The son of Dionysus and Aphrodite was unusual and so ugly that the beautiful goddess abandoned the baby. The huge phallus of Priapus was constantly in a state of erection. Growing up, Priapus tried to seduce his father Dionysus. In Ancient Greece, the son of the god of winemaking and Aphrodite was revered in some provinces as the god of fertility.

Dionysus and Ariadne

The wife and companion of Dionysus Ariadne was first thrown by her beloved Theseus on about. Naxos. Ariadne cried for a long time, then fell asleep. All this time, Dionysus, who arrived on the island, watched her. Eros released his arrow of love and Ariadne's heart was aflame with new love. During a mystical marriage, Ariadne's head was crowned with a crown presented to her by Aphrodite herself and the mountains of the island. At the end of the ceremony, Dionysus raised a crown to heaven in the form of a constellation. Zeus, as a gift to his son, endowed Ariadne with immortality, which elevated her to the rank of goddesses.

Dionysus and Artemis

In another myth about the love of Dionysus and Ariadne, the god Dionysus asks Artemis, the eternally young and chaste goddess of the hunt to kill Ariadne, who liked him, because she was married to Theseus in a sacred grove, only in this way Ariadne could become his wife, through the initiation of death. Artemis shoots an arrow at Ariadne, who is then resurrected and becomes the wife of the god of fun and fertility, Dionysus.

The cult of Dionysus and Christianity

With the penetration of Christianity into Greece, the cult of Dionysus did not outlive itself for a long time, the people continued to venerate the festivities dedicated to God, and the Greek Church was forced to fight with its own methods, St. George came to replace Dionysus. The old sanctuaries dedicated to Bacchus were destroyed, and Christian temples were built in their place. But even now, during the grape harvest, during the holidays, you can see the praise of Bacchus.