the English Theatre by Whitehead founded on the Ion of Euripides Analysis of his Plot and variations in it from the Græcian Original: General comparifon of thefe Dra
INTRODUCTION of the worship of Bacchus from Afia into Europe. Parentage of the Theban or Græcian Bacchus Story of Jupiter and Semele: Fabulous account of the birth of Bacchus: Solution of the ænigma by Euripides, Diodorus Siculus, and other Authors. Person of the Græcian Bacchus the ancient model of delicate beauty: Defcription of a ftatue of him by Praxiteles from Calliftratus: Singular appendage of the antlers on the forehead of Bacchus difcuffed: Hiftorical evidence from Diodorus Siculus, Plutarch, Porphyry, Philoftratus, and Albricus, tha he was thus reprefented by the ancient Painters and Sculptors in answer to the remark of the Author of Polymetis. Inftances of ancient ftatues and medals, inferted in Montfaucon and Spanheim, which difplay this appendage of Bacchus. Character of this Pagan God, as a Warrior, Prophet, and Benefactor of Mankind: General veneration of
him by the Ancients, as the Inventor of wine and other li-
quors. Origin of the Heathen Divinities derived from hu-
man gratitude. Hiftorical account of the Inftitution of the
Orgies: Time of their performance: Prohibition of reveal-
ing them: Original idea of their purifying effect on the hu-
man mind: Doctrine of the immortality of the Soul convey-
ed in them: Exclufion of the Impious from the participation
of them: Degeneracy of these Pagan Rites into licentiousness:
Abolition of them by Diagondas the Theban, according to
the teftimony of Cicero: Difcovery of their enormities at
Rome, as related by Livy in the ftory of Æbutius and Hifpa-
la Fecenia: Publick emblems of thefe Orgies, Ejaculation
and Mufical Inftruments: Political ufe derived from the
clangor of these Bacchick Rites: Ceremony of the Dance an
effential ingredient: Historical inftances of the performance
of this exercise, as an act of religion: Extravagance of the
Bacchick Dance. Account of the Votaries of Dionufus :
Satyrs reprefented as Attendants: Peculiar attachment of the
Women to these favourite Orgies: Mufes reported by Dio-
dorus Siculus to have travelled in company with Bacchus.
Real motives of the promifcuous affemblage of the different
fexes developed on the abolition of the Roman Bacchanalia :
Romantick Cuftoms of the Female Votaries: Savageness of
their food: Their characteristical Frenzy proverbial among
the Ancients: Superior Enthufiafm of the Female Sex, as
collected from the History of Superftition, and illustrated by
a modern inftance, which happened at Naples. Drefs of
Bacchus and his Votaries: Mitra: Chaplet of Ivy and other
trees: Crown of ferpents, and origin of this, fantastick ap-
pendage:
pendage: Dishevelled locks and flowing robes: Nebris or
vestment from the skin of the Fawn: Thyrfus or confecrated
fpear: Napon or Cane, and origin of the use of this in-
ftrument or Bacchick wand, with the hiftorical account of its
quality of preserving fire within it, as illuftrated by Tourne-
fort in his defcription of a plant in the Island Skinofa; Græ-
cian Proverb derived from this Narthex: Confideration on the
reason, why it is not oftener discovered in the ancient statues
of Bacchus and his Votaries: Silence of Montfaucon in re-
gard to this wand, and conjecture on the cause of it: Ap-
pendage of the Torch employed in thefe Rites: Title of
Λαμπτήρ, applied to the God, and that of Λαμπηρία to the
Festival in honour of him. This Pagan Inftitution a favou-
rite fubject of Ancient Poetry among the Græcians and
Romans.
ANALYSIS of the Prologus: Comparison of it with
that of the Ion: Criticifm of Strabo in regard to the viola-
tion of Geography by Euripides in the opening of this Drama
confidered and illuftrated. Analysis of the first Choral Ode:
Remarkable inftance of an analogy to Oriental Language in
the mode of expreffion: Collateral paffages from Ovid and
Nonnus.
Nonnus. Confideration on the conduct of Tirefias and Cad-
mus, as Bacchanalian Votaries: Vindication of their Dance
from the imputation of Brumoy, charging it with a comick
effect: Testimony of Demofthenes in favour of the sacred
folemnity of the Dance in honour of Dionufus: Conjecture
of Brumoy, that the Tragedy of the Baccha was compofed
for a feftival of the God: Inference drawn from this argu-
ment against his other fuppofition, that this fcene exhibited
a ludicrous fpectacle: Romantick Opinion of Brumoy, that
the Bacchæ resembled the Satyrical Drama of the Græcians,
refuted by Carmeli. Character and Conduct of Pentheus in
his oppofition to the divinity of Bacchus vindicated on the
prefent evidence: Remarkable error in the Latin Verfions of
the Editors, and in the Italian Tranflators, on the conftruc
tion of a line: Confequence refulting from it to the œco-
nomy of the Drama. Confideration on the deportment of
Pentheus towards Tirefias and Cadmus: Analysis of their
arguments in fupport of Dionufus. Refentment of Pentheus
against the Lydian Stranger: Art of the Poet in regard to an
affertion of Tirefias. Objection of Brumoy and reply of
Carmeli on the filence of Pentheus towards the Chorus in
this fcene: Additional arguments in vindication of the Poet
derived from the conftitution of the Chorus on the Græcian
Stage: Analyfis of the Choral Ode. Sarcaftick Obferva-
tions of Brumoy and Carmeli on the Pagan Immorality of the
Drama refuted. Miracles, concerning the release of the Fe-
male Bacchanalians from imprisonment, contrasted with
thofe of Holy Writ correfponding to them. Imperious con-
duct of Pentheus towards the Lydian Youth: Divine de-
portment
portment of the disguised Bacchus: His noble reply to the
menace of the Monarch: Its refemblance to that of the three
Servants of the moft High God to King Nebuchadnezzar :
Real fenfe of Euripides rescued from the Epicurean inter-
pretation of Horace, and proved to be founded on Religion.
Analysis of the Choral Ode: Divine symbols of the manifes-
tation of the Deity: Correfponding Allufions in Holy Writ
and in fchylus: Other Miracles in the Palace of Pentheus:
Conjecture on an overfight of Euripides in the expreffion of
a particular line. Contemplation of the Character of Pen-
theus on the prefent evidence: Arrival and intelligence of
the Meffenger from Mount Citharon: Defcription of the
conduct, dress, and innocent miracles of the Female Bac-
chanalians: Conformity of the latter with Holy Writ: Con-
fideration of the opinion of Dacier and other Authors, that
Mofes was shadowed under the character of Bacchus: In-
ference in favour of this fuppofition from the evidence of
Euripides in this Play: Other Miracles of the Female Vota-
ries, related by the Meffenger: Picture of Bacchanalian
Frenzy, as difplayed against the Brute Creation: Proof of
the fublime Genius of Euripides: Moral object of the Poet
in the defcription of this terrible fcene. Severe criticifm.
of Brumoy on the morality of the Bacchæ cenfured: His
opinion of the refemblance of this Tragedy with the Modern.
Opera discussed: Sentiment of Rouffeau on this subject from
his Dictionnaire de Mufique: Fortitude and Religion of the
Chorus: Indignation of Pentheus: His infatuation of mind
inflicted by the God: Prophecy of Bacchus in regard to
the maffacre of the King cenfured, as an anticipation of
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