The enthusiastic celebration of the Maenads in particular introduces the entire range of imagery and motifs commonly associated with Bacchic frenzy, highlighting notions of excess and boundary transgression. 48Įuripides begins his play with Bacchus’ arrival at Thebes and a detailed exposition of his world, carefully elaborated in the prologue (1–63, spoken by the god himself) and the chorus upon their entry onto the stage (64–169, sung by Lydian women). This tragedy was, as far as we can tell, Ovid’s most important source and model.

The myth was a popular subject with writers and artists alike, and is famously the subject of the Bacchae, a tragedy by the 5th-century BCE Athenian playwright Euripides. The story of Pentheus and Bacchus was well established long before Ovid’s day. While nearly all Thebans welcome the new cult, Pentheus is obstinate in his scepticism and resistance, an attitude that leads to his doom. Early in the reign of the young king, a new religious cult sweeps in from the East, that of the god Bacchus (Greek Dionysus), son of the god Jupiter and the Theban princess Semele (their explosive affair and Bacchus’ unusual birth were described earlier in Book 3, at 253–315). 47 Cadmus is now an old man, and has abdicated the throne of his city in favour of his grandson Pentheus. The setting for this episode is the city of Thebes, which, as we have seen, was founded by Cadmus, after his search for his abducted sister Europa proved fruitless. It will be clear from our discussion so far that the Pentheus episode lies at the heart of Ovid’s Theban narrative in a number of important respects.

Metamorphoses 3