Ancient Greece

The Brygos Painter was an ancient Greek Attic red-figure vase painter of the Late Archaic period. Together with Onesimos, Douris and Makron, he is among the most important cup painters of his time. He was active in the first third of the 5th century BCE, especially in the 480s and 470s BCE. He was a prolific artist to whom over two hundred vases have been attributed, but he is perhaps best known for the Brygos Cup, a red-figure kylix in the Louvre which depicts the "iliupersis" or sack of Troy.

The Oresteia (Ancient Greek: Ὀρέστεια) is a trilogy of Greek tragedies written by Aeschylus in the 5th century BC, concerning the murder of Agamemnon by Clytemnestra, the murder of Clytemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus, and the pacification of the Furies (also called Erinyes or Eumenides).

The Oresteia trilogy consists of three plays: Agamemnon, The Libation Bearers, and The Eumenides. It shows how the Greek gods interacted with the characters and influenced their decisions pertaining to events and disputes. The only extant example of an ancient Greek theatre trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC. The principal themes of the trilogy include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation. Oresteia originally included a satyr play, Proteus (Πρωτεύς), following the tragic trilogy, but all except a single line of Proteus has been lost.

The Persians (Ancient Greek: Πέρσαι, romanized: Pérsai, Latinised as Persae) is an ancient Greek tragedy written during the Classical period of Ancient Greece by the Greek tragedian Aeschylus. It is the second and only surviving part of a now otherwise lost trilogy that won the first prize at the dramatic competitions in Athens' City Dionysia festival in 472 BC, with Pericles serving as choregos. It's his oldest surviving play, and, by extension, the oldest surviving piece of ancient Greek drama.

Criticism of religion involves criticism of the validity, concept, or ideas of religion. Historical records of criticism of religion go back to at least 5th century BCE in ancient Greece, in Athens specifically, with Diagoras "the Atheist" of Melos. In ancient Rome, an early known example is Lucretius' De rerum natura from the 1st century BCE.

Every exclusive religion on Earth (as well as every exclusive world view) that promotes exclusive truth-claims necessarily denigrates the truth-claims of other religions. Thus, some criticisms of religion become criticisms of one or more aspects of a specific religious tradition. Critics of religion in general may view religion as one or more of: outdated, harmful to the individual, harmful to society, an impediment to the progress of science or humanity, a source of immoral acts or customs, and a political tool for social control.

The Apollonian and the Dionysian are philosophical and literary concepts represented by a duality between the figures of Apollo and Dionysus from Greek mythology. Its popularization is widely attributed to the work The Birth of Tragedy by Friedrich Nietzsche, though the terms had already been in use prior to this, such as in the writings of poet Friedrich Hölderlin, historian Johann Joachim Winckelmann, and others. The word Dionysian occurs as early as 1608 in Edward Topsell's zoological treatise The History of Serpents. The concept has since been widely invoked and discussed within Western philosophy and literature.

In Greek mythology, Apollo and Dionysus are both sons of Zeus. Apollo, son of Leto, is the god of the sun, art, plague and disease, of rational thinking and order, and appeals to logic, prudence and purity and stands for reason. Dionysus, son of Semele, is the god of wine, dance and pleasure, of irrationality and chaos, representing passion, emotions and instincts. The ancient Greeks did not consider the two gods to be opposites or rivals, although they were often entwined by nature.

Eternal return (or eternal recurrence) is a philosophical concept which states that time repeats itself in an infinite loop, and that exactly the same events will continue to occur in exactly the same way, over and over again, for eternity.

In ancient Greece, the concept of eternal return was most prominently associated with Empedocles and with Stoicism, the school of philosophy founded by Zeno of Citium. The Stoics believed that the universe is periodically destroyed and reborn, and that each universe is exactly the same as the one before. This doctrine was fiercely criticised by Christian authors such as Augustine, who saw in it a fundamental denial of free will and of the possibility of salvation. The spread of Christianity therefore diminished classical theories of eternal return.

In Greek mythology, maenads (/ˈmiːnædz/ ; Ancient Greek: μαινάδες [maiˈnades]) were the female followers of Dionysus and the most significant members of his retinue, the thiasus.Their name, which comes from μαίνομαι (maínomai, "to rave, to be mad; to rage, to be angry"), literally translates as 'raving ones'. Maenads were known as Bassarids, Bacchae /ˈbækiː/, or Bacchantes /ˈbækənts, bəˈkænts, -ˈkɑːnts/ in Roman mythology after the penchant of the equivalent Roman god, Bacchus, to wear a bassaris or fox skin.

Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication. During these rites, the maenads would dress in fawn skins and carry a thyrsus, a long stick wrapped in ivy or vine leaves and tipped with a pine cone. They would weave ivy-wreaths around their heads or wear a bull helmet in honor of their god, and often handle or wear snakes.

The dithyramb (/ˈdɪθɪræm/; Ancient Greek: διθύραμβος, dithyrambos) was an ancient Greek hymn sung and danced in honor of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god. Plato, in The Laws, while discussing various kinds of music mentions "the birth of Dionysos, called, I think, the dithyramb." Plato also remarks in the Republic that dithyrambs are the clearest example of poetry in which the poet is the only speaker.

However, in The Apology Socrates went to the dithyrambic poetswith some of their own most elaborate passages, asking their meaning, but got a response of, "Will you believe me?" which "showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them."

Aristias (Ancient Greek: Ἀριστίας), son of Pratinas, was a dramatic poet of ancient Greece whose tomb Pausanias saw at Phlius, and whose satyric dramas, with those of his father, were considered to be surpassed only by those of Aeschylus. Aristias is mentioned in the life of Sophocles as one of the poets with whom the latter contended. Besides two dramas, which were undoubtedly satyr plays, the Keres (Κῆρες) and Cyclops, Aristias wrote three others, Antaeus, Orpheus, and Atalante, which may have been tragedies.

A theatrical culture flourished in ancient Greece from 700 BC. At its centre was the city-state of Athens, which became a significant cultural, political, and religious place during this period, and the theatre was institutionalised there as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy (late 500 BC), comedy (490 BC), and the satyr play were the three dramatic genres emerged there. Athens exported the festival to its numerous colonies. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements.