Critical Analysis Of Dionysus

In the last analysis, Dionysus is a comic success, a charcter capable of giving Aristophanes’ audience a rich array of pleasure, surprise and even fleeting glimpses of life’s enigmas, in large part because he is a lover of tragedy who can cheerfully confess and come to term with his inability to comprehend the object of his love.

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In Aristophanes The Frogs emotions and passions are considered as weapons to bring reformation in society. Aristophanes wanted to save Athens through Eros and patriotism. Eros, the most private passion, was believed by ancient political thinkers to be of the utmost public relevance. For them, the term eros included the ordinary meaning of love and sexuality but went beyond these to embrace a wide array of inclinations

Memory therefore becomes the vehicle by which dead receive their honour. Only if memory of their deeds lives on after them will their sacrifice of life not have been in vain. Diotima speaks of achievements that earn “deathless remembrance” “immortality and remembrance” and “deathless glory and remembrance”. Pericles speaks of “eternal memorials” “eternally remembered repute” and “unwritten memory” that the dead have earned for themselves. The implicit argument is that because death cannot be postponed indefinitely, it is irrational to wait hiding in a corner until it comes for you in old age. Precisely if maximizing life is the goal, memory last for longer than bodily existence. Just as bodily eros pushes us towards the acts that obtain significant life. For Diotima, eros is principal of generation, whether the progeny be offspring of soul or of

Poet as an advisor changes the life of people and lives in the hearts of them forever. For Athenian people Dionysian n Lenea festival were the only sources of entertainment. Theatre at that time has central importance so drama has psychological effect on the people as they try to link their lives with the actions performed by the characters. In Aristophanes ' The Frogs a play within a play whose protagonists are playwrights. In answer to Aeschylus 's accusation that Euripides had put "unholy matings" on the stage in particular by depicting the incestuous passion of Phaedra with Hippolytus, Bellerophon with Stheneboia, and anonymous women who go to bed with their brothers and that Euripides had called Oedipus a happy man, Euripides replies that his depictions were harmless. To this Aeschylus objects, saying that married women took hemlock out of shame because of Euripides ' depiction of the love of Stheneboia for her stepson Bellerophon. Here Aeschylus blurs the permeable fourth wall between theatre and reality: the audience becomes part of the drama by reacting to it. Euripides is being judged not only for the actions of "his" Bellerophon and Stheneboia, but for the actions of the "real" women who took hemlock as a result of seeing the play. Euripides counters this with a claim that mythic drama and reality do in fact intersect, but on a different plane, and