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Reading Dionysus: Euripides' Bacchae Among Jews And

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Reading Dionysus: Euripides' Bacchae Among Jews And Reading Dionysus: Euripides’ Bacchae among Jews and Christians in the Greco-Roman World A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Courtney Jade Friesen IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Philip Sellew, Adviser August 2013 Courtney Jade Friesen Copyright © 2013. TABLE OF CONTENTS List of Tables………………………….…………………………………..……………...iii Abbreviations……………………………..………………………….…………………...iv 1 Introduction: Reading Dionysus Then and Now………………………………………..1 1.1 Staging the Dramatis Personae………………………….……………………1 1.2 Dionysus, the Theater, and Athens……………………………………...….....3 1.3 Euripides’ Bacchae: Some Meanings and Effects………….………………..12 1.4 Euripides’ Bacchae, Religious Identity, and Literary Reception….………...37 1.5 Scope of This Study………………………….……………………..………..51 PART I: Reading Dionysus under Empire 2 Euripides’ Bacchae at Alexandria: Theocritus, Dio Chrysostom, and The Politics of Maenadism………………………56 2.1 Introduction………………………………………………………………….56 2.2 The Arrival of Euripides’ Bacchae and Dionysus in Alexandria……………57 2.3 Theocritus’ Idyll 26 and Euripides’ Bacchae: From Subversive Maenadism to Court Poetry…………………...…………65 2.4 Dio Chrysostom’s Alexandrian Oration: Euripides’ Maenads and the Alexandrian Mob……..……………………...80 2.5 Euripides’ Bacchae at Alexandria: Conclusions……………………………..94 3 Euripides’ Bacchae at Rome: Horace on Bacchus as Tragic Hero and Stoic Sage………………………….………96 3.1 Introduction…………………………...………………….…………………..96 3.2 The Arrival of Dionysus at Rome...………………………….………………97 3.3 Euripides’ Bacchae on the Roman Stage and in Imperial Epic…………….103 3.4 Horace’s Epistles 1.16 and Euripides’ Bacchae: From Cithaeron to Sabine Estate………..……………….…..……………110 3.5 The Bacchae and Ritual Death from the Gold Tablets to Plutarch and Epictetus……..…………………...128 3.6 Euripides’ Bacchae at Rome: Conclusions…………………………………133 PART II: Jews Reading Dionysus 4 Euripides’ Bacchae and the Reinvention of Exodus and Conquest in the Wisdom of Solomon and Artapanus’ Moses Fragment.……………………..136 4.1 Introduction: Judaism and the Encounter with Hellenism.…………………136 4.2 The Wisdom of Solomon and the Canaanite Dionysus…………………….147 4.3 Artapanus’ Moses Fragment and Dionysiac Prison Escape……………..…162 4.4 Conclusions………………………….………………………………...……182 i 5 Philo of Alexandria’s Dionysiac and Tragic Ambivalences……………………….…185 5.1 Introduction………………………….…………………………...…………185 5.2 Legatio ad Gaium: Imitating Dionysus and (En)acting Tragedy……...……186 5.3 (Anti-)Dionysiac Hermeneutics in De ebrietate: Male Maenads and Sober Inebriation………..……………….………...…194 5.4 Conclusions………………………….……………………………………...203 PART III: Christians Reading Dionysus 6 Narrating Madness and Moderation in Euripides’ Bacchae and the Acts of the Apostles………………………..………206 6.1 Introduction: Christianity and Its Greco-Roman Worlds………...…………206 6.2 The Literary and Religious Worlds of the Acts of the Apostles……………218 6.3 The Acts of the Apostles and Euripides’ Bacchae: Status quaestionis…….225 6.4 Dionysiac Reversals in the Acts of the Apostles…………………………...231 6.5 Conclusions………………………….…………………………………...…268 7 A God Dismembered or Dismembering? Euripides’ Bacchae between Celsus and Origen…………………………………...272 7.1 Introduction………………………….…………………………………..…272 7.2 Celsus’ Argument from Euripides’ Bacchae in the Alethes Logos…………275 7.3 Origen’s Response: Death as Divine Virtue……………………..…………295 7.4 Conclusions………………………….…………………………...…………307 8 Clement of Alexandria on Pleasure and Dying with Euripides’ Bacchae……………309 8.1 Introduction………………………….…………………………………..…309 8.2 Clement, Greek Paideia, and Greek Poetry………………...………………312 8.3 Dangerous Pleasures: Poetry and Dionysus……………………………...…318 8.4 Christ as Dionysiac Mystagogue in Stromateis 4……………………..……326 8.5 Conclusions...…....………………….………………………………………334 9 Conclusions: Gathering up the Scattered Limbs………………………….………..…336 Bibliography………………………….………………………………...………………343 ii LIST OF TABLES Table 1: Acts’ Three Accounts of Paul’s Epiphany and Conversion…………………236 iii ABBREVIATIONS The abbreviations of ancient works and secondary literature follow The SBL Handbook of Style where possible. This has been supplemented by L’Année philologique. Abbreviations of ancient works have occasionally been avoided in the interest of facilitating ease of reading. iv CHAPTER ONE INTRODUCTION: READING DIONYSUS THEN AND NOW 1.1 STAGING THE DRAMATIS PERSONAE Dionysus comes in many forms. His arrivals are attended with conflicts and often result in the transformation of civilization. The most famous myth of Dionysus from antiquity is that enacted in Euripides’ Bacchae, a drama that embodies several moments of radical social and political transition and upheaval. It is the last surviving tragedy from Classical Athens; it earned first prize for its performance at the Great Dionysia in 405 BCE after the playwright’s death in exile at the closing years of the Peloponnesian War, a war that was catastrophic for Athens and resulted in a military and economic decline from which it would never fully recover. The play stages another moment of conflict and transformation. Dionysus returns to his birthplace of mythological Thebes in order to establish his cult and avenge himself upon those who refused to acknowledge that his mother Semele had been impregnated by Zeus. Pentheus, the newly installed king of Thebes, refuses to recognize the god and vigorously opposes the arrival and establishment of his cult. As champion of rationality and civic order, the young tyrant opposes the excess, madness, and sensuality of the invading barbarian cult as well as its challenge to traditional structures of Theban civilization. Over the course of the narrative, however, Pentheus’ rigorous hostility gives way to his curiosity to view the women who have gone out to the mountains to engage in the frenzied worship of Dionysus. The disguised god convinces Pentheus to spy on the women who, possessed 1 by the god and led by his own mother Agave, unknowingly subject him to sparagmos, that is, tear him to pieces in an act of sacrificial ritual. This play of Euripides was widely popular throughout antiquity. As an exploration of the contestation of political and religious power, the Bacchae provided repeated opportunities for readers and audiences in subsequent eras to confront their own historical moments and to interrogate the urgent problems of their own worlds. This study explores the ancient reception of this tragedy in several works of literature in the Hellenistic and Roman periods, ranging from the third century BCE to the third century CE, at various moments and crisis and transformation. Each author and text explored herein evokes Euripides’ mythological world and finds in it new relevancies for voicing contemporary experiences. The Bacchae’s ancient reception involves a range of materials, the study of which demands a thoroughly cross-disciplinary methodology. As this study demonstrates, ancient interest in the Bacchae extends well beyond the circles of the educated elite within the “pagan” Greco-Roman world. Hellenistic Jews and early Christians also engage with the tragedy in various and interesting ways. Thus, as an analysis of the reception of the Bacchae among Greeks and Romans, Jews and Christians, this study reevaluates the traditional historical dichotomies between “pagan,” “Jew,” and “Christian,” together with the disciplinary divisions that undergird them. This work, therefore, is an experiment in multi-disciplinarity that attempts to bring several academic fields more fully into conversation (i.e., classical, biblical, Jewish, and early Christian studies). At the same time, it aims to provide fresh insight into the meaning of the Bacchae in antiquity, as well as the role of literary engagement in the process of cultural 2 negotiation and the construction of identity. What follows, then, is in a sense the drama of a drama, that is, the unfolding story of the variegated ways in which Euripides’ powerful narrative is repeatedly revisited and reinvented for new purposes in new eras. This introductory chapter situates this narrative within its fifth-century Athenian “origin.” First, I explore the place of Dionysus in the Greek religious imagination and the role of tragic theater in Athenian society (§ 1.2). I then outline an interpretation of the Bacchae that attends to its meaning in the fifth century while repeatedly anticipating the ways in which the play’s interpretive puzzles and ambiguous potentialities animate and provoke the readings that are explored in subsequent chapters (§ 1.3). Finally, I survey the scholarly methodologies that inform this study (§ 1.4) and summarize the scope of inquiry (§ 1.5). 1.2 DIONYSUS, THE THEATER, AND ATHENS 1.2.1 DIONYSUS: CHARACTERIZING AN UNCHARACTERISTIC GOD More than any other Greek god, Dionysus defies classification and characterization.1 The most apt generalization is that Dionysus eludes all generalization. Indeed, as Albert Henrichs summarizes, in contrast to other deities, Dionysus “is 1 Among the many studies devoted to the god Dionysus, see Walter F. Otto, Dionysus: Myth and Cult (trans. Robert B. Palmer; Bloomington, Ind.: Indiana University Press, 1965); H. Jeanmaire, Dionysos: histoire du culte de Bacchus (Paris: Payot, 1951); Adrien Bruhl, Liber Pater: origine et expansion du culte dionysiaque à Rome et dans le monde romain (Paris: Boccard, 1953); Carl Kerényi, Dionysos: Archetypal Image of Indestructible Life (trans. Ralph Manheim; Princeton: Princeton University Press, 1976); Richard Seaford,
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