The picture of the bacchante who stands motionless and stares into space must have been well known. Catullus is thinking of her when he tells of the abandoned Ariadne, who follows her faithless lover with sorrowing eyes as she stands on the reedy shore ‘like the picture of a maenad.’ Indeed, melancholy silence becomes the sign of women who are possessed by Dionysus. […]
Madness dwells in the surge of clanging, shrieking, and pealing sounds, it dwells also in silence. The women who follow Dionysus get their name, maenads, from this madness. Possessed by it, they rush off, whirl madly in circles, or stand still, as if turned to stone.
Walter F. Otto, “Dionysus - Myth and Cult” (1933)
things classicists may do to achieve that #ancient greek aesthetic
buy more than one copy of a single translation
equate beauty with death in day to day conversations
do a group bacchant ritual which inadvertently (or purposefully?!?) kills a man, then to cover up the first murder complete a second murder by manipulating a repressed bisexual into helping you push your close friend off a cliff
any time there is an opportunity to buy like those cheap tacky tourist-y roman or greek coins, buy those said coins
long for a bust of yourself
humanise figures that probably, in all fairness, shouldn’t be humanised (i’m looking at you Achilles)
comment on the quality of the translation even though that is the highest pretentious level possible
use ‘pathetic’ – quote “in the original sense of the word”
Victor Karlovich Shtemberg (1863-1921),
[Виктор Карлович Штембер (Штемберг) - “Вакханка”]
Victor Karlovich Shtemberg (also Shtember) was born in 1863 [Russian]. He studied at the Imperial Academy of Arts as a non-enrolled student in 1881-1883. Member of St. Petersburg Society of Artists until 1903. Comradeship of Artists (founding member); Kuindzhi Society 1910s. Exhibited with Itinerants in 1891. Died in 1917.