Abstract

Recent approaches to Euripides' The Bacchae (407 B.C.) have generally concentrated on Dionysiac poetics. Since Dionysus is the god of theater, they have used the play's inclusion of him to explore its relationships to the theater and to theater's function in Athenian society. Their efforts have, in part, been built on Friedrich Nietzsche's The Birth of Tragedy (1872) and its embodiment of formal aesthetic forces in the idea of coexist-

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