title: Dionysus

text: Bassareus, "Βασσαρεύς" a Thracian name for Dionysus, which derives from "bassaris" or "fox-skin", which item was worn by his cultists in their mysteries.


title: Dionysus

text: Bromios "Βρόμιος" ("roaring", as of the wind, primarily relating to the central death/resurrection element of the myth, but also the god's transformations into lion and bull, and the boisterousness of those who drink alcohol. Also cognate with the "roar of thunder", which refers to Dionysus' father, Zeus "the thunderer".)


title: Dionysus

text: Choiropsalas "χοιροψάλας" ("pig-plucker": Greek "χοῖρος" = "pig", also used as a slang term for the female genitalia). A reference to Dionysus's role as a fertility deity.


title: Dionysus

text: Enorches ("with balls"), with reference to his fertility, or "in the testicles" in reference to Zeus' sewing the baby Dionysus "into his thigh", understood to mean his testicles). used in Samos and Lesbos.


title: Dionysus

text: Iacchus, "Ἴακχος" a possible epithet of Dionysus, associated with the Eleusinian Mysteries. In Eleusis, he is known as a son of Zeus and Demeter. The name "Iacchus" may come from the Ιακχος ("Iakchos"), a hymn sung in honor of Dionysus.


title: Dionysus

text: Isodaetes, "Ισοδαίτης", meaning "he who distributes equal portions", cult epithet also shared with Helios.


title: Dionysus

text: Liknites ("he of the winnowing fan"), as a fertility god connected with mystery religions. A winnowing fan was used to separate the chaff from the grain.


title: Dionysus

text: Lyaeus, or Lyaios (Λυαῖος, "deliverer", literally "loosener"), one who releases from care and anxiety.


title: Dionysus

text: Nysian "Nύσιος", according to Philostratus, he was called like this by the ancient Indians. Most probably, because according to legend he founded the city of Nysa.


title: Dionysus

text: Omadios ("flesh-eater"), Eusebius writes in Preparation for the Gospel that, Euelpis of Carystus states that, in Chios and Tenedos they did human sacrifice to Dionysus Omadios.


title: Dionysus

text: Semeleios (Semeleius or Semeleus), an obscure epithet meaning 'He of the Earth', 'son of Semele'. Also appears in the expression "Semeleios Iakchus plutodotas" ("Son of Semele, Iakchus, wealth-giver").


title: Dionysus

text: In the Greek pantheon, Dionysus (along with Zeus) absorbs the role of Sabazios, a Thracian/Phrygian deity. In the Roman pantheon, Sabazius became an alternative name for Bacchus.


title: Dionysus

text: Dionysus worship became firmly established by the seventh century BC. He may have been worshiped as early as c. 1500–1100 BC by Mycenaean Greeks; and traces of Dionysian-type cult have also been found in ancient Minoan Crete.


title: Dionysus

text: The Dionysia, Haloa, Ascolia and Lenaia festivals were dedicated to Dionysus. The Rural Dionysia (or Lesser Dionysia) was one of the oldest festivals dedicated to Dionysus, begun in Attica, and probably celebrated the cultivation of vines. It was held during the winter month of Poseideon (the time surrounding the winter solstice, modern December or January). The Rural Dionysia centered on a procession, during which participants carried phalluses, long loaves of bread, jars of water and wine as well as other offerings, and young girls carried baskets. The procession was followed by a series of dramatic performances and drama competitions.


title: Dionysus

text: The City Dionysia (or Greater Dionysia) took place in urban centers such as Athens and Eleusis, and was a later development, probably beginning during the sixth century BC. Held three months after the Rural Dionysia, the Greater festival fell near the spring equinox in the month of Elaphebolion (modern March or April). The procession of the City Dionysia was similar to that of the rural celebrations, but more elaborate, and led by participants carrying a wooden statue of Dionysus, and including sacrificial bulls and ornately dressed choruses. The dramatic competitions of the Greater Dionysia also featured more noteworthy poets and playwrights, and prizes for both dramatists and actors in multiple categories.


title: Dionysus

text: The Anthesteria (Ἀνθεστήρια) was an Athenian festival that celebrated the beginning of spring. It spanned three days: Pithoigia (Πιθοίγια, "Jar-Opening"), Choes (Χοαί, "The Pouring") and Chythroi (Χύτροι "The Pots"). It was said the dead arose from the underworld during the span of the festival. Along with the souls of the dead, the Keres also wandered through the city and had to be banished when the festival ended. On the first day, Wine vats were opened. The wine was opened and mixed in honour of the god. The rooms and the drinking vessels were adorned with flowers along with children over three years of age.


title: Dionysus

text: On the second day, a solemn ritual for Dionysus occurred along with drinking. People dressed up, sometimes as members of Dionysus's entourage, and visited others. Choes was also the occasion of a solemn and secret ceremony. In one of the sanctuaries of Dionysus in the Lenaeum, which for the rest of the year was closed. The basilissa (or basilinna), wife of the basileus, underwent through a symbolic ceremonial marriage to the god, possibly representing a Hieros gamos. The basilissa was assisted by fourteen Athenian matrons (called Gerarai) who were chosen by the basileus and sworn to secrecy.


title: Dionysus

text: The last day was dedicated to the dead. Offerings were also offered to Hermes, due to his connection to the underworld. It was considered a day of merrymaking. Some poured Libations on the tombs of deceased relatives. Chythroi ended with a ritual cry intended to order the souls of the dead to return to the underworld. Keres were also banished from the festival on the last day.


title: Dionysus

text: To protect themselves from evil, people chewed leaves of whitethorn and smeared their doors with tar to protect themselves. The festival also allowed servants and slaves to join in on the festivities.


title: Dionysus

text: The central religious cult of Dionysus is known as the Bacchic or Dionysian Mysteries. The exact origin of this religion is unknown, though Orpheus was said to have invented the mysteries of Dionysus. Evidence suggests that many sources and rituals typically considered to be part of the similar Orphic Mysteries actually belong to Dionysian mysteries. Some scholars have suggested that, additionally, there is no difference between the Dionysian mysteries and the mysteries of Persephone, but that these were all facets of the same mystery religion, and that Dionysus and Persephone both had important roles in it. Previously considered to have been a primarily rural and fringe part of Greek religion, the major urban center of Athens played a major role in the development and spread of the Bacchic mysteries.


title: Dionysus

text: The Bacchic mysteries served an important role in creating ritual traditions for transitions in people's lives; originally primarily for men and male sexuality, but later also created space for ritualizing women's changing roles and celebrating changes of status in a woman's life. This was often symbolized by a meeting with the gods who rule over death and change, such as Hades and Persephone, but also with Dionysus' mother Semele, who probably served a role related to initiation into the mysteries.


title: Dionysus

text: The religion of Dionysus often included rituals involving the sacrifice of goats or bulls, and at least some participants and dancers wore wooden masks associated with the god. In some instances, records show the god participating in the ritual via a masked and clothed pillar, pole, or tree is used, while his worshipers eat bread and drink wine. The significance of masks and goats to the worship of Dionysus seems to date back to the earliest days of his worship, and these symbols have been found together at a Minoan tomb near Phaistos in Crete.


title: Dionysus

text: As early as the fifth century BC, Dionysus became identified with Iacchus, a minor deity from the tradition of the Eleusinian Mysteries. This association may have arisen because of the homophony of the names Iacchus and Bacchus. Two black-figure lekythoi (c. 500 BC), possibly represent the earliest evidence for such an association. The nearly-identical vases, one in Berlin, the other in Rome, depict Dionysus, along with the inscription "IAKXNE", a possible miswriting of "IAKXE". More early evidence can be found in the works of the fifth-century BC Athenian tragedians Sophocles and Euripides. In Sophocles' "Antigone" (c. 441 BC), an ode to Dionysus begins by addressing Dionysus as the "God of many names" ("πολυώνυμε"), who rules over the glens of Demeter's Eleusis, and ends by identifying him with "Iacchus the Giver", who leads "the chorus of the stars whose breath is fire" and whose "attendant Thyiads" dance in "night-long frenzy". And in a fragment from a lost play, Sophocles describes Nysa, Dionysus' traditional place of nurture: "From here I caught sight of Nysa, haunt of Bacchus, famed among mortals, which Iacchus of the bull's horns counts as his beloved nurse". In Euripides' "Bacchae" (c. 405 BC), a messenger, describing the Bacchic revelries on mount Cithaeron, associates Iacchus with Bromius, another of the names of Dionysus, saying, they "began to wave the thyrsos ... calling on Iacchus, the son of Zeus, Bromius, with united voice."


title: Dionysus

text: An inscription found on a stone stele (c. 340 BC), found at Delphi, contains a paean to Dionysus, which describes his travels. From Thebes, where he was born, he first went to Delphi where he displayed his "starry body", and with "Delphian girls" took his "place on the folds of Parnassus", then next to Eleusis, where he is called "Iacchus":


title: Dionysus

text: Strabo, says that Greeks "give the name 'Iacchus' not only to Dionysus but also to the leader-in-chief of the mysteries". In particular, Iacchus was identified with the Orphic Dionysus, who was a son of Persephone. Sophocles mentions "Iacchus of the bull's horns", and according to the first-century BC historian Diodorus Siculus, it was this older Dionysus who was represented in paintings and sculptures with horns, because he "excelled in sagacity and was the first to attempt the yoking of oxen and by their aid to effect the sowing of the seed". Arrian, the second-century Greek historian, wrote that it was to this Dionysus, the son of Zeus and Persephone, "not the Theban Dionysus, that the mystic chant 'Iacchus' is sung". The second-century poet Lucian also referred to the "dismemberment of Iacchus".


title: Dionysus

text: The fourth- or fifth-century poet Nonnus associated the name Iacchus with the "third" Dionysus. He described the Athenian celebrations given to the first Dionysus Zagreus, son of Persephone, the second Dionysus Bromios, son of Semele, and the third Dionysus Iacchus:


title: Dionysus

text: By some accounts, Iacchus was the husband of Demeter. Several other sources identify Iacchus as Demeter's son. The earliest such source, a fourth-century BC vase fragment at Oxford, shows Demeter holding the child Dionysus on her lap. By the first-century BC, Demeter suckling Iacchus had become such a common motif, that the Latin poet Lucretius could use it as an apparently recognizable example of a lover's euphemism. A scholiast on the second-century AD Aristides, explicitly names Demeter as Iacchus' mother.


title: Dionysus

text: In the Orphic tradition, the "first Dionysus" was the son of Zeus and Persephone, and was dismembered by the Titans before being reborn. Dionysus was the patron god of the Orphics, who they connected to death and immortality, and he symbolized the one who guides the process of reincarnation.


title: Dionysus

text: This Orphic Dionysus is sometimes referred to with the alternate name Zagreus (). The earliest mentions of this name in literature describe him as a partner of Gaia and call him the highest god. Aeschylus linked Zagreus with Hades, as either Hades' son or Hades himself. Noting "Hades' identity as Zeus' "katachthonios" alter ego", Timothy Gantz thought it likely that Zagreus, originally, perhaps, the son of Hades and Persephone, later merged with the Orphic Dionysus, the son of Zeus and Persephone. However, no known Orphic sources use the name "Zagreus" to refer to the Orphic Dionysus. It is possible that the association between the two was known by the third century BC, when the poet Callimachus may have written about it in a now-lost source. Callimachus, as well as his contemporary Euphorion, told the story of the dismemberment of the infant Dionysus, and Byzantine sources quote Callimachus as referring to the birth of a "Dionysos Zagreus", explaining that Zagreus was the poets' name for the "chthonic" aspect of Dionysus. The earliest definitive reference to the belief that Zagreus is another name for the Orphic Dionysus is found in the late first century writings of Plutarch. The fifth century Greek poet Nonnus' "Dionysiaca" tells the story of this Orphic Dionysus, in which Nonnus calls him the "older Dionysos ... illfated Zagreus", "Zagreus the horned baby", "Zagreus, the first Dionysos", "Zagreus the ancient Dionysos", and "Dionysos Zagreus".


title: Dionysus

text: The mystery cult of Bacchus was brought to Rome from the Greek culture of southern Italy or by way of Greek-influenced Etruria. It was established around 200 BC in the Aventine grove of Stimula by a priestess from Campania, near the temple where Liber Pater ("the Free Father") had a State-sanctioned, popular cult. Liber was a native Roman god of wine, fertility, and prophecy, patron of Rome's plebeians (citizen-commoners), and one of the members of the Aventine Triad, along with his mother Ceres and sister or consort Libera. A temple to the Triad was erected on the Aventine Hill in 493 BC, along with the institution of celebrating the festival of Liberalia. The worship of the Triad gradually took on more and more Greek influence, and by 205 BC, Liber and Libera had been formally identified with Bacchus and Proserpina. Liber was often interchangeably identified with Dionysus and his mythology, though this identification was not universally accepted. Cicero insisted on the "non-identity of Liber and Dionysus" and described Liber and Libera as children of Ceres.


title: Dionysus

text: Liber, like his Aventine companions, carried various aspects of his older cults into official Roman religion. He protected various aspects of agriculture and fertility, including the vine and the "soft seed" of its grapes, wine and wine vessels, and male fertility and virility. Pliny called Liber "the first to establish the practice of buying and selling; he also invented the diadem, the emblem of royalty, and the triumphal procession." Roman mosaics and sarcophagi attest to various representations of a Dionysus-like exotic triumphal procession. In Roman and Greek literary sources from the late Republic and Imperial era, several notable triumphs feature similar, distinctively "Bacchic" processional elements, recalling the supposedly historic "Triumph of Liber".


title: Dionysus

text: Liber and Dionysus may have had a connection that predated Classical Greece and Rome, in the form of the Mycenaean god Eleutheros, who shared the lineage and iconography of Dionysus but whose name has the same meaning as Liber. Before the importation of the Greek cults, Liber was already strongly associated with Bacchic symbols and values, including wine and uninhibited freedom, as well as the subversion of the powerful. Several depictions from the late Republic era feature processions, depicting the "Triumph of Liber".


title: Dionysus

text: In Rome, the most well-known festivals of Bacchus were the Bacchanalia, based on the earlier Greek Dionysia festivals. These Bacchic rituals were said to have included omophagic practices, such as pulling live animals apart and eating the whole of them raw. This practice served not only as a reenactment of the infant death and rebirth of Bacchus, but also as a means by which Bacchic practitioners produced "enthusiasm": etymologically, to let a god enter the practitioner's body or to have her become one with Bacchus.


title: Dionysus

text: In Livy's account, the Bacchic mysteries were a novelty at Rome; originally restricted to women and held only three times a year, they were corrupted by an Etruscan-Greek version, and thereafter drunken, disinhibited men and women of all ages and social classes cavorted in a sexual free-for-all five times a month. Livy relates their various outrages against Rome's civil and religious laws and traditional morality ("mos maiorum"); a secretive, subversive and potentially revolutionary counter-culture. Livy's sources, and his own account of the cult, probably drew heavily on the Roman dramatic "genre" known as "Satyr plays", based on Greek originals. The cult was suppressed by the State with great ferocity; of the 7,000 arrested, most were executed. Modern scholarship treats much of Livy's account with skepticism; more certainly, a Senatorial edict, the "Senatus consultum de Bacchanalibus" was distributed throughout Roman and allied Italy. It banned the former Bacchic cult organisations. Each meeting must seek prior senatorial approval through a praetor. No more than three women and two men were allowed at any one meeting, and those who defied the edict risked the death penalty.


title: Dionysus

text: Bacchus was conscripted into the official Roman pantheon as an aspect of Liber, and his festival was inserted into the Liberalia. In Roman culture, Liber, Bacchus and Dionysus became virtually interchangeable equivalents. Thanks to his mythology involving travels and struggles on earth, Bacchus became euhemerised as a historical hero, conqueror, and founder of cities. He was a patron deity and founding hero at Leptis Magna, birthplace of the emperor Septimius Severus, who promoted his cult. In some Roman sources, the ritual procession of Bacchus in a tiger-drawn chariot, surrounded by maenads, satyrs and drunks, commemorates the god's triumphant return from the conquest of India. Pliny believed this to be the historical prototype for the Roman Triumph.


title: Dionysus

text: In the Neoplatonist philosophy and religion of Late Antiquity, the Olympian gods were sometimes considered to number 12 based on their spheres of influence. For example, according to Sallustius, "Jupiter, Neptune, and Vulcan fabricate the world; Ceres, Juno, and Diana animate it; Mercury, Venus, and Apollo harmonize it; and, lastly, Vesta, Minerva, and Mars preside over it with a guarding power." The multitude of other gods, in this belief system, subsist within the primary gods, and Sallustius taught that Bacchus subsisted in Jupiter.


title: Dionysus

text: In the Orphic tradition, a saying was supposedly given by an oracle of Apollo that stated "Zeus, Hades, [and] Helios-Dionysus" were "three gods in one godhead". This statement apparently conflated Dionysus not only with Hades, but also his father Zeus, and implied a particularly close identification with the sun-god Helios. When quoting this in his "Hymn to King Helios", Emperor Julian substituted Dionysus' name with that of Serapis, whose Egyptian counterpart Osiris was also identified with Dionysus.


title: Dionysus

text: Three centuries after the reign of Theodosius I which saw the outlawing of pagan worship across the Roman Empire, the 692 Quinisext Council in Constantinople felt it necessary to warn Christians against participating in persisting rural worship of Dionysus. The council decried the Bacchic rites of the feast day Brumalia, "the public dances of women", ritual cross-dressing, the wearing of Dionysiac masks, and the invoking of Bacchus' name when "squeez[ing] out the wine in the presses" or "when pouring out wine into jars".


title: Dionysus

text: According to the Lanercost chronicle, during Easter in 1282 in Scotland, the parish priest of Inverkeithing led young women in a dance in honor of Priapus and Father Liber, commonly identified with Dionysus. The priest danced and sang at the front, carrying a representation of the phallus on a pole. He was killed by a Christian mob later that year. Historian C. S. Watkins believes that Richard of Durham, the author of the chronicle, identified an occurrence of apotropaic magic with his knowledge of ancient Greek religion, rather than recording an actual case of survival of pagan rituals.


title: Dionysus

text: The late medieval Byzantine scholar Gemistus Pletho secretly advocated in favor of a return to paganism in medieval Greece.


title: Dionysus

text: In the eighteenth century, Hellfire Clubs appeared in Britain and Ireland. Though activities varied between the clubs, some of them were very pagan, and included shrines and sacrifices. Dionysus was one of the most popular deities, alongside deities like Venus and Flora. Today one can still see the statue of Dionysus left behind in the Hellfire Caves.


title: Dionysus

text: In 1820, Ephraim Lyon founded the Church of Bacchus in Eastford, Connecticut. He declared himself High Priest, and added local drunks to the list of membership. He maintained that those who died as members would go to a Bacchanalia for their afterlife.


title: Dionysus

text: Modern pagan and polytheist groups often include worship of Dionysus in their traditions and practices, most prominently groups which have sought to revive Hellenic polytheism, such as the Supreme Council of Ethnic Hellenes (YSEE). In addition to libations of wine, modern worshipers of Dionysus offer the god grape vines, ivy, and various forms of incense, particularly styrax. They may also celebrate Roman festivals such as the Liberalia (March 17, close to the Spring Equinox) or Bacchanalia (Various dates), and various Greek festivals such as the Anthesteria, Lenaia, and the Greater and Lesser Dionysias, the dates of which are calculated by the lunar calendar.


title: Dionysus

text: In the Greek interpretation of the Egyptian pantheon, Dionysus was often identified with Osiris. Stories of the dismemberment of Osiris and the re-assembly and resurrection by Isis closely parallel those of the Orphic Dionysus and Demeter. According to Diodorus Siculus, as early as the fifth century BC, the two gods had been syncretized as a single deity known as Dionysus-Osiris. The most notable record of this belief is found in Herodotus' 'Histories'. Plutarch also described his belief that Osiris and Dionysus were identical, stating that anyone familiar with the secret rituals associated with both gods would recognize obvious parallels, and that their dismemberment myths and associated public symbols are enough additional evidence that they are the same god worshiped by two different cultures.


title: Dionysus

text: Other syncretic Greco-Egyptian deities arose out of this conflation, including with the gods Serapis and Hermanubis. Serapis was believed to be both Hades and Osiris, and the Roman Emperor Julian considered him the same as Dionysus as well. Dionysus-Osiris was particularly popular in Ptolemaic Egypt, as the Ptolemies claimed descent from Dionysus, and as Pharaohs they had claim to the lineage of Osiris. This association was most notable during a deification ceremony where Mark Antony became Dionysus-Osiris, alongside Cleopatra as Isis-Aphrodite.


title: Dionysus

text: Egyptian myths about Priapus said that the Titans conspired against Osiris, killed him, divided his body into equal parts, and "slipped them secretly out of the house". All but Osiris' penis, which since none of them "was willing to take it with him", they threw into the river. Isis, Osiris' wife, hunted down and killed the Titans, reassembled Osiris' body parts "into the shape of a human figure", and gave them "to the priests with orders that they pay Osiris the honours of a god". But since she was unable to recover the penis she ordered the priests "to pay to it the honours of a god and to set it up in their temples in an erect position."


title: Dionysus

text: The fifth–fourth century BC philosopher Heraclitus, unifying opposites, declared that Hades and Dionysus, the very essence of indestructible life "(zoë)", are the same god. Among other evidence, Karl Kerényi notes in his book that the Homeric Hymn "To Demeter", votive marble images and epithets all link Hades to being Dionysus. He also notes that the grieving goddess Demeter refused to drink wine, as she states that it would be against "themis" for her to drink wine, which is the gift of Dionysus, after Persephone's abduction, because of this association; indicating that Hades may in fact have been a "cover name" for the underworld Dionysus. He suggests that this dual identity may have been familiar to those who came into contact with the Mysteries. One of the epithets of Dionysus was "Chthonios", meaning "the subterranean".


title: Dionysus

text: Evidence for a cult connection is quite extensive, particularly in southern Italy, especially when considering the heavy involvement of death symbolism included in Dionysian worship; statues of Dionysus found in the Ploutonion at Eleusis gives further evidence as the statues found bear a striking resemblance to the statue of Eubouleus, also called "Aides Kyanochaites" (Hades of the flowing dark hair), known as the youthful depiction of the Lord of the Underworld. The statue of Eubouleus is described as being radiant but disclosing a strange inner darkness Ancient portrayals show Dionysus holding in his hand the kantharos, a wine-jar with large handles, and occupying the place where one would expect to see Hades. Archaic artist Xenocles portrayed on one side of a vase, Zeus, Poseidon and Hades, each with his emblems of power; with Hades' head turned back to front and, on the other side, Dionysus striding forward to meet his bride Persephone, with the kantharos in his hand, against a background of grapes. Dionysus also shared several epithets with Hades such as "Chthonios", "Eubouleus and Euclius".


title: Dionysus

text: Both Hades and Dionysus were associated with a divine tripartite deity with Zeus. Zeus, like Dionysus, was occasionally believed to have an underworld form, closely identified with Hades, to the point that they were occasionally thought of as the same god.


title: Dionysus

text: According to Marguerite Rigoglioso, Hades is Dionysus, and this dual god was believed by the Eleusinian tradition to have impregnated Persephone. This would bring the Eleusinian in harmony with the myth in which Zeus, not Hades, impregnated Persephone to bear the first Dionysus. Rigoglioso argues that taken together, these myths suggest a belief that is that, with Persephone, Zeus/Hades/Dionysus created (in terms quoted from Kerényi) "a second, a little Dionysus", who is also a "subterranean Zeus". The unification of Hades, Zeus, and Dionysus as a single tripartite god was used to represent the birth, death and resurrection of a deity and to unify the 'shining' realm of Zeus and the dark underworld realm of Hades. According to Rosemarie Taylor-Perry,it is often mentioned that Zeus, Hades and Dionysus were all attributed to being the exact same god... Being a tripartite deity Hades is also Zeus, doubling as being the Sky God or Zeus, Hades abducts his 'daughter' and paramour Persephone. The taking of Kore by Hades is the act which allows the conception and birth of a second integrating force: Iacchos (Zagreus-Dionysus), also known as Liknites, the helpless infant form of that Deity who is the unifier of the dark underworld (chthonic) realm of Hades and the Olympian ("Shining") one of Zeus.


title: Dionysus

text: The Phrygian god Sabazios was alternately identified with Zeus or with Dionysus. The Byzantine Greek encyclopedia, "Suda" (c. tenth century), stated: Sabazios ... is the same as Dionysos. He acquired this form of address from the rite pertaining to him; for the barbarians call the bacchic cry "sabazein". Hence some of the Greeks too follow suit and call the cry "sabasmos"; thereby Dionysos [becomes] Sabazios. They also used to call "saboi" those places that had been dedicated to him and his Bacchantes ... Demosthenes [in the speech] "On Behalf of Ktesiphon" [mentions them]. Some say that Saboi is the term for those who are dedicated to Sabazios, that is to Dionysos, just as those [dedicated] to Bakkhos [are] Bakkhoi. They say that Sabazios and Dionysos are the same. Thus some also say that the Greeks call the Bakkhoi Saboi.


title: Dionysus

text: Strabo, in the first century, linked Sabazios with Zagreus among Phrygian ministers and attendants of the sacred rites of Rhea and Dionysos. Strabo's Sicilian contemporary, Diodorus Siculus, conflated Sabazios with the secret Dionysus, born of Zeus and Persephone, However, this connection is not supported by any surviving inscriptions, which are entirely to "Zeus Sabazios".


title: Dionysus

text: Several ancient sources record an apparently widespread belief in the classical world that the god worshiped by the Jewish people, Yahweh, was identifiable as Dionysus or Liber via his identification with Sabazios. Tacitus, Lydus, Cornelius Labeo, and Plutarch all either made this association, or discussed it as an extant belief (though some, like Tacitus, specifically brought it up in order to reject it). According to Plutarch, one of the reasons for the identification is that Jews were reported to hail their god with the words "Euoe" and "Sabi", a cry typically associated with the worship of Sabazius. According to scholar Sean McDonough, it is possible that Plutarch's sources had confused the cry of "Iao Sabaoth" (typically used by Greek speakers in reference to Yahweh) with the Sabazian cry of "Euoe Saboe", originating the confusion and conflation of the two deities. The cry of "Sabi" could also have been conflated with the Jewish term "sabbath", adding to the evidence the ancients saw that Yahweh and Dionysus/Sabazius were the same deity. Further bolstering this connection would have been coins used by the Maccabees that included imagery linked to the worship of Dionysus such as grapes, vine leaves, and cups. However the belief that the Jewish god was identical with Dionysus/Sabazius was widespread enough that a coin dated to 55 BC depicting a kneeling king was labelled "Bacchus Judaeus" ("BACCHIVS IVDAEVS"), and in 139 BC praetor Cornelius Scipio Hispalus deported Jewish people for attempting to "infect the Roman customs with the cult of Jupiter Sabazius".


title: Dionysus

text: Various different accounts and traditions existed in the ancient world regarding the parentage, birth, and life of Dionysus on earth, complicated by his several rebirths. By the first century BC, some mythographers had attempted to harmonize the various accounts of Dionysus' birth into a single narrative involving not only multiple births, but two or three distinct manifestations of the god on earth throughout history in different lifetimes. The historian Diodorus Siculus said that according to "some writers of myths" there were two gods named Dionysus, an older one, who was the son of Zeus and Persephone, but that the "younger one also inherited the deeds of the older, and so the men of later times, being unaware of the truth and being deceived because of the identity of their names thought there had been but one Dionysus." He also said that Dionysus "was thought to have two forms...the ancient one having a long beard, because all men in early times wore long beards, the younger one being youthful and effeminate and young."


title: Dionysus

text: Though the varying genealogy of Dionysus was mentioned in many works of classical literature, only a few contain the actual narrative myths surrounding the events of his multiple births. These include the first century BC "Bibliotheca historica" by Greek historian Diodorus, which describes the birth and deeds of the three incarnations of Dionysus; the brief birth narrative given by the first century AD Roman author Hyginus, which describes a double birth for Dionysus; and a longer account in the form of Greek poet Nonnus's epic "Dionysiaca", which discusses three incarnations of Dionysus similar to Diodorus' account, but which focuses on the life of the third Dionysus, born to Zeus and Semele.


title: Dionysus

text: Though Diodorus mentions some traditions which state an older, Indian or Egyptian Dionysus existed who invented wine, no narratives are given of his birth or life among mortals, and most traditions ascribe the invention of wine and travels through India to the last Dionysus. According to Diodorus, Dionysus was originally the son of Zeus and Persephone (or alternately, Zeus and Demeter). This is the same horned Dionysus described by Hyginus and Nonnus in later accounts, and the Dionysus worshiped by the Orphics, who was dismembered by the Titans and then reborn. Nonnus calls this Dionysus Zagreus, while Diodorus says he is also considered identical with Sabazius. However, unlike Hyginus and Nonnus, Diodorus does not provide a birth narrative for this incarnation of the god. It was this Dionysus who was said to have taught mortals how to use oxen to plow the fields, rather than doing so by hand. His worshipers were said to have honored him for this by depicting him with horns.


title: Dionysus

text: The Greek poet Nonnus gives a birth narrative for Dionysus in his late fourth or early fifth century AD epic "Dionysiaca". In it, he described how Zeus "intended to make a new Dionysos grow up, a bullshaped copy of the older Dionysos" who was the Egyptian god Osiris. (Dionysiaca 4) Zeus took the shape of a serpent (""drakon""), and "ravished the maidenhood of unwedded Persephoneia." According to Nonnus, though Persephone was "the consort of the blackrobed king of the underworld", she remained a virgin, and had been hidden in a cave by her mother to avoid the many gods who were her suitors, because "all that dwelt in Olympos were bewitched by this one girl, rivals in love for the marriageable maid." (Dionysiaca 5) After her union with Zeus, Persephone's womb "swelled with living fruit", and she gave birth to a horned baby, named Zagreus. Zagreus, despite his infancy, was able to climb onto the throne of Zeus and brandish his lightning bolts, marking him as Zeus' heir. Hera saw this and alerted the Titans, who smeared their faces with chalk and ambushed the infant Zagreus "while he contemplated his changeling countenance reflected in a mirror." They attacked him. However, according to Nonnus, "where his limbs had been cut piecemeal by the Titan steel, the end of his life was the beginning of a new life as Dionysos." He began to change into many different forms in which he returned the attack, including Zeus, Cronus, a baby, and "a mad youth with the flower of the first down marking his rounded chin with black." He then transformed into several animals to attack the assembled Titans, including a lion, a wild horse, a horned serpent, a tiger, and, finally, a bull. Hera intervened, killing the bull with a shout, and the Titans finally slaughtered him and cut him into pieces. Zeus attacked the Titans and had them imprisoned in Tartaros. This caused the mother of the Titans, Gaia, to suffer, and her symptoms were seen across the whole world, resulting in fires and floods, and boiling seas. Zeus took pity on her, and in order to cool down the burning land, he caused great rains to flood the world. (Dionysiaca 6)


title: Dionysus

text: In the Orphic tradition, Dionysus was, in part, a god associated with the underworld. As a result, the Orphics considered him the son of Persephone, and believed that he had been dismembered by the Titans and then reborn. The myth of the dismemberment of Dionysus was alluded to as early as the fourth century BC by Plato in his "Phaedo", in which Socrates claims that the initiations of the Dionysian Mysteries are similar to those of the philosophic path. Late Neoplatonists such as Damascius explored the implications of this at length. The dismemberment of Dionysus (the "sparagmos") is often considered to be the most important myth of Orphism.


title: Dionysus

text: Many modern sources identify this "Orphic Dionysus" with the god Zagreus, though this name does not seem to have been used by any of the ancient Orphics, who simply called him Dionysus. As pieced together from various ancient sources, the reconstructed story, usually given by modern scholars, goes as follows. Zeus had intercourse with Persephone in the form of a serpent, producing Dionysus. The infant was taken to Mount Ida, where, like the infant Zeus, he was guarded by the dancing Curetes. Zeus intended Dionysus to be his successor as ruler of the cosmos, but a jealous Hera incited the Titans to kill the child. Damascius claims that he was mocked by the Titans, who gave him a fennel stalk ("thyrsus") in place of his rightful scepter.


title: Dionysus

text: Diodorus relates that Dionysus is the son of Zeus and Demeter, the goddess of agriculture, and that his birth narrative is an allegory for the generative power of the gods at work in nature. When the "Sons of Gaia" (i.e. the Titans) boiled Dionysus following his birth, Demeter gathered together his remains, allowing his rebirth. Diodorus noted the symbolism this myth held for its adherents: Dionysus, god of the vine, was born from the gods of the rain and the earth. He was torn apart and boiled by the sons of Gaia, or "earth born", symbolizing the harvesting and wine-making process. Just as the remains of the bare vines are returned to the earth to restore its fruitfulness, the remains of the young Dionysus were returned to Demeter allowing him to be born again.


title: Dionysus

text: The birth narrative given by Gaius Julius Hyginus (c. 64 BC – 17 AD) in "Fabulae" 167, agrees with the Orphic tradition that Liber (Dionysus) was originally the son of Jove (Zeus) and Proserpine (Persephone). Hyginus writes that Liber was torn apart by the Titans, so Jove took the fragments of his heart and put them into a drink which he gave to Semele, the daughter of Harmonia and Cadmus, king and founder of Thebes. This resulted in Semele becoming pregnant. Juno appeared to Semele in the form of her nurse, Beroe, and told her: "Daughter, ask Jove to come to you as he comes to Juno, so you may know what pleasure it is to sleep with a god." When Semele requested that Jove do so, she was killed by a thunderbolt. Jove then took the infant Liber from her womb, and put him in the care of Nysus. Hyginus states that "for this reason he is called Dionysus, and also the one with two mothers" ("dimētōr").


title: Dionysus

text: Nonnus describes how, when life was rejuvenated after the flood, it was lacking in revelry in the absence of Dionysus. "The Seasons, those daughters of the lichtgang, still joyless, plaited garlands for the gods only of meadow-grass. For Wine was lacking. Without Bacchos to inspire the dance, its grace was only half complete and quite without profit; it charmed only the eyes of the company, when the circling dancer moved in twists and turns with a tumult of footsteps, having only nods for words, hand for mouth, fingers for voice." Zeus declared that he would send his son Dionysus to teach mortals how to grow grapes and make wine, to alleviate their toil, war, and suffering. After he became protector of humanity, Zeus promises, Dionysus would struggle on earth, but be received "by the bright upper air to shine beside Zeus and to share the courses of the stars." (Dionysiaca 7).


title: Dionysus

text: The mortal princess Semele then had a dream, in which Zeus destroyed a fruit tree with a bolt of lightning, but did not harm the fruit. He sent a bird to bring him one of the fruits, and sewed it into his thigh, so that he would be both mother and father to the new Dionysus. She saw the bull-shaped figure of a man emerge from his thigh, and then came to the realization that she herself had been the tree. Her father Cadmus, fearful of the prophetic dream, instructed Semele to make sacrifices to Zeus. Zeus came to Semele in her bed, adorned with various symbols of Dionysus. He transformed into a snake, and "Zeus made long wooing, and shouted "Euoi!" as if the winepress were near, as he begat his son who would love the cry." Immediately, Semele's bed and chambers were overgrown with vines and flowers, and the earth laughed. Zeus then spoke to Semele, revealing his true identity, and telling her to be happy: "you bring forth a son who shall not die, and you I will call immortal. Happy woman! you have conceived a son who will make mortals forget their troubles, you shall bring forth joy for gods and men." (Dionysiaca 7).


title: Dionysus

text: During her pregnancy, Semele rejoiced in the knowledge that her son would be divine. She dressed herself in garlands of flowers and wreathes of ivy, and would run barefoot to the meadows and forests to frolic whenever she heard music. Hera became envious, and feared that Zeus would replace her with Semele as queen of Olympus. She went to Semele in the guise of an old woman who had been Cadmus' wet nurse. She made Semele jealous of the attention Zeus gave to Hera, compared with their own brief liaison, and provoked her to request Zeus to appear before her in his full godhood. Semele prayed to Zeus that he show himself. Zeus answered her prayers, but warned her than no other mortals had ever seen him as he held his lightning bolts. Semele reached out to touch them, and was burnt to ash. (Dionysiaca 8). But the infant Dionysus survived, and Zeus rescued him from the flames, sewing him into his thigh. "So the rounded thigh in labour became female, and the boy too soon born was brought forth, but not in a mother's way, having passed from a mother's womb to a father's." (Dionysiaca 9). At his birth, he had a pair of horns shaped like a crescent moon. The Seasons crowned him with ivy and flowers, and wrapped horned snakes around his own horns.


title: Dionysus

text: An alternate birth narrative is given by Diodorus from the Egyptian tradition. In it, Dionysus is the son of Ammon, who Diodorus regards both as the creator god and a quasi-historical king of Libya. Ammon had married the goddess Rhea, but he had an affair with Amaltheia, who bore Dionysus. Ammon feared Rhea's wrath if she were to discover the child, so he took the infant Dionysus to Nysa (Dionysus' traditional childhood home). Ammon brought Dionysus into a cave where he was to be cared for by Nysa, a daughter of the hero Aristaeus. Dionysus grew famous due to his skill in the arts, his beauty, and his strength. It was said that he discovered the art of winemaking during his boyhood. His fame brought him to the attention of Rhea, who was furious with Ammon for his deception. She attempted to bring Dionysus under her own power but, unable to do so, she left Ammon and married Cronus.


title: Dionysus

text: Even in antiquity, the account of Dionysus' birth to a mortal woman led some to argue that he had been a historical figure who became deified over time, a suggestion of Euhemerism (an explanation of mythic events having roots in mortal history) often applied to demi-gods. The fourth century Roman emperor and philosopher Julian encountered examples of this belief, and wrote arguments against it. In his letter "To the Cynic Heracleios", Julian wrote "I have heard many people say that Dionysus was a mortal man because he was born of Semele, and that he became a god through his knowledge of theurgy and the Mysteries, and like our lord Heracles for his royal virtue was translated to Olympus by his father Zeus." However, to Julian, the myth of Dionysus's birth (and that of Heracles) stood as an allegory for a deeper spiritual truth. The birth of Dionysus, Julian argues, was "no birth but a divine manifestation" to Semele, who foresaw that a physical manifestation of the god Dionysus would soon appear. However, Semele was impatient for the god to come, and began revealing his mysteries too early; for her transgression, she was struck down by Zeus. When Zeus decided it was time to impose a new order on humanity, for it to "pass from the nomadic to a more civilized mode of life", he sent his son Dionysus from India as a god made visible, spreading his worship and giving the vine as a symbol of his manifestation among mortals. In Julian's interpretation, the Greeks "called Semele the mother of Dionysus because of the prediction that she had made, but also because the god honored her as having been the first prophetess of his advent while it was yet to be." The allegorical myth of the birth of Dionysus, per Julian, was developed to express both the history of these events and encapsulate the truth of his birth outside the generative processes of the mortal world, but entering into it, though his true birth was directly from Zeus along into the intelligible realm.


title: Dionysus

text: According to Nonnus, Zeus gave the infant Dionysus to the care of Hermes. Hermes gave Dionysus to the Lamides, or daughters of Lamos, who were river nymphs. But Hera drove the Lamides mad, and caused them to attack Dionysus, who was rescued by Hermes. Hermes next brought the infant to Ino for fostering by her attendant Mystis, who taught him the rites of the mysteries (Dionysiaca 9). In Apollodorus' account, Hermes instructed Ino to raise Dionysus as a girl, in order to hide him from Hera's wrath. However, Hera found him, and vowed to destroy the house with a flood; however, Hermes again rescued Dionysus, this time bringing him to the mountains of Lydia. Hermes adopted the form of Phanes, most ancient of the gods, and so Hera bowed before him and let him pass. Hermes gave the infant to the goddess Rhea, who cared for him through his adolescence.


title: Dionysus

text: Another version is that Dionysus was taken to the rain-nymphs of Nysa, who nourished his infancy and childhood, and for their care Zeus rewarded them by placing them as the Hyades among the stars (see Hyades star cluster). In yet another version of the myth, he is raised by his cousin Macris on the island of Euboea.


title: Dionysus

text: Dionysus in Greek mythology is a god of foreign origin, and while Mount Nysa is a mythological location, it is invariably set far away to the east or to the south. The "Homeric Hymn 1 to Dionysus" places it "far from Phoenicia, near to the Egyptian stream". Others placed it in Anatolia, or in Libya ("away in the west beside a great ocean"), in Ethiopia (Herodotus), or Arabia (Diodorus Siculus).


title: Dionysus

text: The "Bibliotheca" seems to be following Pherecydes, who relates how the infant Dionysus, god of the grapevine, was nursed by the rain-nymphs, the Hyades at Nysa. Young Dionysus was also said to have been one of the many famous pupils of the centaur Chiron. According to Ptolemy Chennus in the Library of Photius, "Dionysus was loved by Chiron, from whom he learned chants and dances, the bacchic rites and initiations."


title: Dionysus

text: When Dionysus grew up, he discovered the culture of the vine and the mode of extracting its precious juice, being the first to do so; but Hera struck him with madness, and drove him forth a wanderer through various parts of the earth. In Phrygia the goddess Cybele, better known to the Greeks as Rhea, cured him and taught him her religious rites, and he set out on a progress through Asia teaching the people the cultivation of the vine. The most famous part of his wanderings is his expedition to India, which is said to have lasted several years. According to a legend, when Alexander the Great reached a city called Nysa near the Indus river, the locals said that their city was founded by Dionysus in the distant past and their city was dedicated to the god Dionysus. These travels took something of the form of military conquests; according to Diodorus Siculus he conquered the whole world except for Britain and Ethiopia.


title: Dionysus

text: Another myth according to Nonnus involves Ampelus, a satyr, who was loved by Dionysus. As related by Ovid, Ampelus became the constellation "Vindemitor", or the "grape-gatherer": Another story of Ampelus was related by Nonnus: in an accident foreseen by Dionysus, the youth was killed while riding a bull maddened by the sting of a gadfly sent by Selene, the goddess of the Moon. The Fates granted Ampelus a second life as a vine, from which Dionysus squeezed the first wine.


title: Dionysus

text: Returning in triumph to Greece after his travels in Asia, Dionysus came to be considered the founder of the triumphal procession. He undertook efforts to introduce his religion into Greece, but was opposed by rulers who feared it, on account of the disorders and madness it brought with it.


title: Dionysus

text: In one myth, adapted in Euripides' play "The Bacchae", Dionysus returns to his birthplace, Thebes, which is ruled by his cousin Pentheus. Pentheus, as well as his mother Agave and his aunts Ino and Autonoe, disbelieve Dionysus' divine birth. Despite the warnings of the blind prophet Tiresias, they deny his worship and denounce him for inspiring the women of Thebes to madness.


title: Dionysus

text: Dionysus uses his divine powers to drive Pentheus insane, then invites him to spy on the ecstatic rituals of the Maenads, in the woods of Mount Cithaeron. Pentheus, hoping to witness a sexual orgy, hides himself in a tree. The Maenads spot him; maddened by Dionysus, they take him to be a mountain-dwelling lion, and attack him with their bare hands. Pentheus' aunts and his mother Agave are among them, and they rip him limb from limb. Agave mounts his head on a pike, and takes the trophy to her father Cadmus.


title: Dionysus

text: “But she was foaming at the mouth, her eyes rolled all around; her mind was mindless now. Held by the god, she paid the man no heed. She grabbed his left arm just below the elbow: wedging her foot against the victim’s ribs she ripped his shoulder off – not by mere force; the god made easy everything they touch. On his right arm worked Ino, ripping flesh; Autonoë and the mob of maenads griped him, screaming as one. While he had breath, he cried, but they were whooping victory calls. One took an arm, a foot another, boot and all. They stripped his torso bare, staining their nails with blood, then tossed balls of flesh around. Pentheus’ body lies in fragments now: on the hard rocks, and mingled with the leaves buried in the woodland, hard to find. His mother stumbled across his head: poor head! She grabbed it, and fixed it on her thrysus, like a lions’s, to wave in joyful triumph at her hunt.”


title: Dionysus

text: The madness passes. Dionysus arrives in his true, divine form, banishes Agave and her sisters, and transforms Cadmus and his wife Harmonia into serpents. Only Tiresias is spared.


title: Dionysus

text: In the Iliad, when King Lycurgus of Thrace heard that Dionysus was in his kingdom, he imprisoned Dionysus' followers, the Maenads. Dionysus fled and took refuge with Thetis, and sent a drought which stirred the people to revolt. The god then drove King Lycurgus insane and had him slice his own son into pieces with an axe in the belief that he was a patch of ivy, a plant holy to Dionysus. An oracle then claimed that the land would stay dry and barren as long as Lycurgus lived, and his people had him drawn and quartered. Appeased by the king's death, Dionysus lifted the curse. In an alternative version, sometimes depicted in art, Lycurgus tries to kill Ambrosia, a follower of Dionysus, who was transformed into a vine that twined around the enraged king and slowly strangled him.


title: Dionysus

text: The "Homeric Hymn 7 to Dionysus" recounts how, while he sat on the seashore, some sailors spotted him, believing him a prince. They attempted to kidnap him and sail away to sell him for ransom or into slavery. No rope would bind him. The god turned into a fierce lion and unleashed a bear on board, killing all in his path. Those who jumped ship were mercifully turned into dolphins. The only survivor was the helmsman, Acoetes, who recognized the god and tried to stop his sailors from the start.


title: Dionysus

text: In a similar story, Dionysus hired a Tyrrhenian pirate ship to sail from Icaria to Naxos. When he was aboard, they sailed not to Naxos but to Asia, intending to sell him as a slave. This time the god turned the mast and oars into snakes, and filled the vessel with ivy and the sound of flutes so that the sailors went mad and, leaping into the sea, were turned into dolphins. In Ovid's "Metamorphoses," Bacchus begins this story as a young child found by the pirates, but transforms to a divine adult when on board.


title: Dionysus

text: Many of the myths involve Dionysus defending his godhead against skeptics. Malcolm Bull notes that "It is a measure of Bacchus's ambiguous position in classical mythology that he, unlike the other Olympians, had to use a boat to travel to and from the islands with which he is associated". Paola Corrente notes that in many sources, the incident with the pirates happens towards the end of Dionysus' time among mortals. In that sense, it serves as final proof of his divinity, and is often followed by his descent into Hades to retrieve his mother, both of whom can then ascend into heaven to live alongside the other Olympian gods.


title: Dionysus

text: Pausanias, in book II of his "Description of Greece", describes two variant traditions regarding Dionysus' katabasis, or descent into the underworld. Both describe how Dionysus entered into the afterlife to rescue his mother Semele, and bring her to her rightful place on Olympus. To do so, he had to contend with the hell dog Cerberus, which was restrained for him by Heracles. After retrieving Semele, Dionysus emerged with her from the unfathomable waters of a lagoon on the coast of the Argolid near the prehistoric site of Lerna, according to the local tradition. This mythic event was commemorated with a yearly nighttime festival, the details of which were held secret by the local religion. According to Paola Corrente, the emergence of Dionysus from the waters of the lagoon may signify a form of rebirth for both him and Semele as they reemerged from the underworld. A variant of this myth forms the basis of Aristophanes' comedy "The Frogs".


title: Dionysus

text: According to the Christian writer Clement of Alexandria, Dionysus was guided in his journey by Prosymnus or Polymnus, who requested, as his reward, to be Dionysus' lover. Prosymnus died before Dionysus could honor his pledge, so to satisfy Prosymnus' shade, Dionysus fashioned a phallus from an olive branch and sat on it at Prosymnus' tomb. This story survives in full only in Christian sources, whose aim was to discredit pagan mythology, but it appears to have also served to explain the origin of secret objects used by the Dionysian Mysteries.


title: Dionysus

text: This same myth of Dionysus' descent to the underworld is related by both Diodorus Siculus in his first century BC work "Bibliotheca historica", and Pseudo-Apollodorus in the third book of his first century AD work "Bibliotheca". In the latter, Apollodorus tells how after having been hidden away from Hera's wrath, Dionysus traveled the world opposing those who denied his godhood, finally proving it when he transformed his pirate captors into dolphins. After this, the culmination of his life on earth was his descent to retrieve his mother from the underworld. He renamed his mother Thyone, and ascended with her to heaven, where she became a goddess. In this variant of the myth, it is implied that Dionysus both must prove his godhood to mortals, then also legitimize his place on Olympus by proving his lineage and elevating his mother to divine status, before taking his place among the Olympic gods.


title: Dionysus

text: Dionysus discovered that his old school master and foster father, Silenus, had gone missing. The old man had wandered away drunk, and was found by some peasants who carried him to their king Midas (alternatively, he passed out in Midas' rose garden). The king recognized him hospitably, feasting him for ten days and nights while Silenus entertained with stories and songs. On the eleventh day, Midas brought Silenus back to Dionysus. Dionysus offered the king his choice of reward.


title: Dionysus

text: Midas asked that whatever he might touch would turn to gold. Dionysus consented, though was sorry that he had not made a better choice. Midas rejoiced in his new power, which he hastened to put to the test. He touched and turned to gold an oak twig and a stone, but his joy vanished when he found that his bread, meat, and wine also turned to gold. Later, when his daughter embraced him, she too turned to gold.


title: Dionysus

text: The horrified king strove to divest the Midas Touch, and he prayed to Dionysus to save him from starvation. The god consented, telling Midas to wash in the river Pactolus. As he did so, the power passed into them, and the river sands turned gold: this etiological myth explained the gold sands of the Pactolus.


title: Dionysus

text: When Theseus abandoned Ariadne sleeping on Naxos, Dionysus found and married her. She bore him a son named Oenopion, but she committed suicide or was killed by Perseus. In some variants, Dionysus had her crown put into the heavens as the constellation Corona; in others, he descended into Hades to restore her to the gods on Olympus. Another account claims Dionysus ordered Theseus to abandon Ariadne on the island of Naxos, for Dionysus had seen her as Theseus carried her onto the ship and had decided to marry her. Psalacantha, a nymph, promised helped Dionysus court Ariadne in exchange for his sexual favours; but Dionysus refused, so Psalacantha advised Ariadne against going with him. For this Dionysus turned her into the plant with the same name.


title: Dionysus

text: Dionysus fell in love with a nymph named Nicaea, in some versions by Eros' binding. Nicaea however was a sworn virgin and scorned his attempts to court her. So one day, while she was away, he replaced the water in the spring she used to drink from with wine. Intoxicated, Nicaea passed out, and Dionysus raped her in her sleep. When she woke up and realized what had happened, she sought him out in order to harm him, but she never found him. She bore him Telete, Satyrus, and other sons. Dionysus named the ancient city of Nicaea after her.


title: Dionysus

text: In Nonnus's "Dionysiaca", Eros made Dionysus fall in love with Aura, a virgin companion of Artemis, as part of a ploy to punish Aura for having insulted Artemis. Dionysus used the same trick as with Nicaea to get her fall asleep, tied her up, and then raped her. Aura tried to kill herself, with little success. When she gave birth to twins sons by Dionysus, Iacchus and another boy, she ate one twin before drowning herself in the Sangarius river.


title: Dionysus

text: Also in the "Dionysiaca", Nonnus relates how Dionysus fell in love with a handsome satyr named Ampelos, who was killed by Selene due to him challenging her. On his death, Dionysus changed him into the first grape-vine.


title: Dionysus

text: A third descent by Dionysus to Hades is invented by Aristophanes in his comedy "The Frogs". Dionysus, as patron of the Athenian dramatic festival, the "Dionysia", wants to bring back to life one of the great tragedians. After a poetry slam, Aeschylus is chosen in preference to Euripides.


title: Dionysus

text: When Hephaestus bound Hera to a magical chair, Dionysus got him drunk and brought him back to Olympus after he passed out.


title: Dionysus

text: Callirrhoe was a Calydonian woman who scorned Coresus, a priest of Dionysus, who threatened to afflict all the women of Calydon with insanity (see Maenad). The priest was ordered to sacrifice Callirhoe but he killed himself instead. Callirhoe threw herself into a well which was later named after her.


title: Dionysus

text: Dionysus also sent a fox that was fated never to be caught on Thebes. Creon, king of Thebes, sent Amphitryon to catch and kill the fox. Amphitryon obtained from Cephalus the dog that his wife Procris had received from Minos, which was fated to catch whatever it pursued.


title: Dionysus

text: Another account about Dionysus's parentage indicates that he is the son of Zeus and Gê (Gaia), also named "Themelê" (foundation), corrupted into "Semele".


title: Dionysus

text: Hyginus relates that Dionysus once gave human speech to a donkey. The donkey then proceeded to challenge Priapus in a contest about which between them had the better penis; the donkey lost. Priapus killed the donkey, but Dionysus placed him among the stars, above the Crab.


title: Dionysus

text: The earliest cult images of Dionysus show a mature male, bearded and robed. He holds a fennel staff, tipped with a pine-cone and known as a "thyrsus". Later images show him as a beardless, sensuous, naked or half-naked androgynous youth: the literature describes him as womanly or "man-womanish". In its fully developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession "(thiasus)" is made up of wild female followers (maenads) and bearded satyrs with erect penises; some are armed with the "thyrsus", some dance or play music. The god himself is drawn in a chariot, usually by exotic beasts such as lions or tigers, and is sometimes attended by a bearded, drunken Silenus. This procession is presumed to be the cult model for the followers of his Dionysian Mysteries. Dionysus is represented by city religions as the protector of those who do not belong to conventional society and he thus symbolizes the chaotic, dangerous and unexpected, everything which escapes human reason and which can only be attributed to the unforeseeable action of the gods.


title: Dionysus

text: Dionysus was a god of resurrection and he was strongly linked to the bull. In a cult hymn from Olympia, at a festival for Hera, Dionysus is invited to come as a bull; "with bull-foot raging". Walter Burkert relates, "Quite frequently [Dionysus] is portrayed with bull horns, and in Kyzikos he has a tauromorphic image", and refers also to an archaic myth in which Dionysus is slaughtered as a bull calf and impiously eaten by the Titans.


title: Dionysus

text: The snake and phallus were symbols of Dionysus in ancient Greece, and of Bacchus in Greece and Rome. He typically wears a panther or leopard skin and carries a thyrsus. His iconography sometimes includes maenads, who wear wreaths of ivy and serpents around their hair or neck.


title: Dionysus

text: The cult of Dionysus was closely associated with trees, specifically the fig tree, and some of his bynames exhibit this, such as "he in the tree" or , "he of the tree". Peters suggests the original meaning as "he who runs among the trees", or that of a "runner in the woods". Janda (2010) accepts the etymology but proposes the more cosmological interpretation of "he who impels the (world-)tree". This interpretation explains how "Nysa" could have been re-interpreted from a meaning of "tree" to the name of a mountain: the axis mundi of Indo-European mythology is represented both as a world-tree and as a world-mountain.


title: Dionysus

text: Dionysus is also closely associated with the transition between summer and autumn. In the Mediterranean summer, marked by the rising of the dog star Sirius, the weather becomes extremely hot, but it is also a time when the promise of coming harvests grow. Late summer, when Orion is at the center of the sky, was the time of the grape harvest in ancient Greece. Plato describes the gifts of this season as the fruit that is harvested as well as Dionysian joy. Pindar describes the "pure light of high summer" as closely associated with Dionysus and possibly even an embodiment of the god himself. An image of Dionysus' birth from Zeus' thigh call him "the light of Zeus" ("Dios phos") and associate him with the light of Sirius.


title: Dionysus

text: The god, and still more often his followers, were commonly depicted in the painted pottery of Ancient Greece, much of which made to hold wine. But, apart from some reliefs of maenads, Dionysian subjects rarely appeared in large sculpture before the Hellenistic period, when they became common. In these, the treatment of the god himself ranged from severe archaising or Neo Attic types such as the Dionysus Sardanapalus to types showing him as an indolent and androgynous young man, often nude. "Hermes and the Infant Dionysus" is probably a Greek original in marble, and the Ludovisi Dionysus group is probably a Roman original of the second century AD. Well-known Hellenistic sculptures of Dionysian subjects, surviving in Roman copies, include the Barberini Faun, the Belvedere Torso, the "Resting Satyr". The Furietti Centaurs and "Sleeping Hermaphroditus" reflect related subjects, which had by this time become drawn into the Dionysian orbit. The marble Dancer of Pergamon is an original, as is the bronze Dancing Satyr of Mazara del Vallo, a recent recovery from the sea.


title: Dionysus

text: The Dionysian world by the Hellenistic period is a hedonistic but safe pastoral into which other semi-divine creatures of the countryside have been co-opted, such as centaurs, nymphs, and the gods Pan and Hermaphrodite. "Nymph" by this stage "means simply an ideal female of the Dionysian outdoors, a non-wild bacchant". Hellenistic sculpture also includes for the first time large genre subjects of children and peasants, many of whom carry Dionysian attributes such as ivy wreaths, and "most should be seen as part of his realm. They have in common with satyrs and nymphs that they are creatures of the outdoors and are without true personal identity." The fourth-century BC Derveni Krater, the unique survival of a very large scale Classical or Hellenistic metal vessel of top quality, depicts Dionysus and his followers.


title: Dionysus

text: Dionysus appealed to the Hellenistic monarchies for a number of reasons, apart from merely being a god of pleasure: He was a human who became divine, he came from, and had conquered, the East, exemplified a lifestyle of display and magnificence with his mortal followers, and was often regarded as an ancestor. He continued to appeal to the rich of Imperial Rome, who populated their gardens with Dionysian sculpture, and by the second century AD were often buried in sarcophagi carved with crowded scenes of Bacchus and his entourage.


title: Dionysus

text: The fourth-century AD Lycurgus Cup in the British Museum is a spectacular cage cup which changes colour when light comes through the glass; it shows the bound King Lycurgus being taunted by the god and attacked by a satyr; this may have been used for celebration of Dionysian mysteries. Elizabeth Kessler has theorized that a mosaic appearing on the triclinium floor of the House of Aion in Nea Paphos, Cyprus, details a monotheistic worship of Dionysus. In the mosaic, other gods appear but may only be lesser representations of the centrally imposed Dionysus. The mid-Byzantine Veroli Casket shows the tradition lingering in Constantinople around 1000 AD, but probably not very well understood.


title: Dionysus

text: Bacchic subjects in art resumed in the Italian Renaissance, and soon became almost as popular as in antiquity, but his "strong association with feminine spirituality and power almost disappeared", as did "the idea that the destructive and creative powers of the god were indissolubly linked". In Michelangelo's statue (1496–97) "madness has become merriment". The statue aspires to suggest both drunken incapacity and an elevated consciousness, but this was perhaps lost on later viewers, and typically the two aspects were thereafter split, with a clearly drunk Silenus representing the former, and a youthful Bacchus often shown with wings, because he carries the mind to higher places.


title: Dionysus

text: Titian's "Bacchus and Ariadne" (1522–23) and "The Bacchanal of the Andrians" (1523–26), both painted for the same room, offer an influential heroic pastoral, while Diego Velázquez in "The Triumph of Bacchus" (or "Los borrachos" – "the drinkers", c. 1629) and Jusepe de Ribera in his "Drunken Silenus" choose a genre realism. Flemish Baroque painting frequently painted the Bacchic followers, as in Van Dyck's "Drunken Silenus" and many works by Rubens; Poussin was another regular painter of Bacchic scenes.


title: Dionysus

text: A common theme in art beginning in the sixteenth century was the depiction of Bacchus and Ceres caring for a representation of love – often Venus, Cupid, or Amore. This tradition derived from a quotation by the Roman comedian Terence (c. 195/185 – c. 159 BC) which became a popular proverb in the Early Modern period: "Sine Cerere et Baccho friget Venus" ("without Ceres and Bacchus, Venus freezes"). Its simplest level of meaning is that love needs food and wine to thrive. Artwork based on this saying was popular during the period 1550–1630, especially in Northern Mannerism in Prague and the Low Countries, as well as by Rubens. Because of his association with the vine harvest, Bacchus became the god of autumn, and he and his followers were often shown in sets depicting the seasons.


title: Dionysus

text: Dionysus has remained an inspiration to artists, philosophers and writers into the modern era. In "The Birth of Tragedy" (1872), the German philosopher Friedrich Nietzsche proposed that a tension between Apollonian and Dionysian aesthetic principles underlay the development of Greek tragedy; Dionysus represented what was unrestrained chaotic and irrational, while Apollo represented the rational and ordered. This concept of a rivalry or opposition between Dionysus and Apollo has been characterized as a "modern myth", as it is the invention of modern thinkers like Nietzsche and Johann Joachim Winckelmann, and is not found in classical sources. However, the acceptance and popularity of this theme in Western culture has been so great, that its undercurrent has influenced the conclusions of classical scholarship.


title: Dionysus

text: Nietzsche also claimed that the oldest forms of Greek Tragedy were entirely based upon the suffering Dionysus. In Nietzsche's 1886 work "Beyond Good and Evil", and later "The Twilight of the Idols", "The Antichrist" and "Ecce Homo", Dionysus is conceived as the embodiment of the unrestrained will to power. In "The Hellenic Religion of the Suffering God" (1904), and "Dionysus and Early Dionysianism" (1921), the poet Vyacheslav Ivanov elaborates the theory of Dionysianism, tracing the origins of literature, and tragedy in particular, to ancient Dionysian mysteries. Ivanov said that Dionysus' suffering "was the distinctive feature of the cult" just as Christ's suffering is significant for Christianity. Karl Kerényi characterizes Dionysus as representative of the psychological life force (Greek "Zoê"). Other psychological interpretations place Dionysus' emotionality in the foreground, focusing on the joy, terror or hysteria associated with the god. Sigmund Freud specified that his ashes should be kept in an Ancient Greek vase painted with Dionysian scenes from his collection, which remains on display at Golders Green Crematorium in London.


title: Dionysus

text: Walt Disney depicted Bacchus in the "Pastoral" segment of the animated film "Fantasia", as a Silenus-like character. In 1969, an adaption of "The Bacchae" was performed, called "Dionysus in '69". A film was made of the same performance. The production was notable for involving audience participation, nudity, and theatrical innovations. In 1974, Stephen Sondheim and Burt Shevelove adapted Aristophanes' comedy "The Frogs" into a modern musical, which hit broadway in 2004 and was revived in London in 2017. The musical keeps the descent of Dionysus into Hades to bring back a playwright; however, the playwrights are updated to modern times, and Dionysus is forced to choose between George Bernard Shaw and William Shakespeare.


title: Dionysus

text: In 2006, The Orion Experience, in the album "Cosmicandy", included a song titled "Cult of Dionysus". The song invokes themes from the god's cult. The entire album is described as "short, sharp, and ultimately memorable, glowing with a long-forgotten disco-synth energy." The song overall plays upon the god's themes of being devious and rebelling against social norms.


title: Dionysus

text: In 2018, Dionysus was featured in Hades, an indie rougelike action dungeon crawler video game developed and published by Supergiant Games. He is one of the cousins of the protagonist and playable character, Zagreus, who is trying to escape the underworld and find his mother whilst his father, Hades, tries to stop him. Dionysus offers boons and assist the Son of Hades in his attempts to escape from the underworld. All of his boons and powers are based of his key traits from his Mythos, focusing on alcohol related abilities and negative effects on enemies to assist the protagonist. His characterisation in the game nods back to a lot of his stories and traits from the history of the character. His interactions with other Gods also highlight his character as mischievous, a lover of festivities and of course, wine. There is also the reference of the protagonist having the name Zagreus, considered to be the first birth of Dionysus. He is voiced by Cyrus Nemati.


title: Dionysus

text: In 2018, the Australian musical project Dead Can Dance released an album entitled "Dionysus". Musician Brendan Perry described the inspiration for the album as a trance-like, "Dionysian" experience he had at a festival during a trip to rural Spain. "It's the spring festivals like that one where you see the real remnants of Dionysian festivals. They're all over the Mediterranean in remote places where Christian influence hasn't been as great. ... People wear masks and dance in circles almost like time has stood still in their celebrations." Perry chose to employ Mediterranean folk instruments that mimic natural sounds in addition to a vocal chorus, in order to evoke the atmosphere of an ancient festival.


title: Dionysus

text: In 2019, the South Korean boy band BTS released a rap-rock-synth-pop-hip hop track. named "Dionysus" as part of their album "". The naming of this song comes from the association of the namesake with debauchery and excess, this is reflected in its lyrics talking about "getting drunk on art" - playing on the Korean words for "alcohol" (술 "sul") and "art" (예술 "yesul") as an example - alongside expressions about their stardom, legacy, and artistic integrity. The band's leader RM in a press release described the song as, "the joy and pain of creating something" and "an honest track".


title: Dionysus

text: Numerous scholars have compared narratives surrounding the Christian figure of Jesus with those associated with Dionysus.


title: Dionysus

text: Some scholars of comparative mythology identify both Dionysus and Jesus with the dying-and-rising god mythological archetype. On the other hand, it has been noted that the details of Dionysus' death and rebirth are starkly different both in content and symbolism from Jesus. The two stories take place in very different historical and geographic contexts. Also, the manner of death is different; in the most common myth, Dionysus was torn to pieces and eaten by the Titans, but "eventually restored to a new life" from the heart that was left over.


title: Dionysus

text: Another parallel can be seen in "The Bacchae" where Dionysus appears before King Pentheus on charges of claiming divinity, which is compared to the New Testament scene of Jesus being interrogated by Pontius Pilate. However, a number of scholars dispute this parallel, since the confrontation between Dionysus and Pentheus ends with Pentheus dying, torn into pieces by the mad women, whereas the trial of Jesus ends with him being sentenced to death. The discrepancies between the two stories, including their resolutions, have led many scholars to regard the Dionysus story as radically different from the one about Jesus, except for the parallel of the arrest, which is a detail that appears in many biographies as well.


title: Dionysus

text: E. Kessler has argued that the Dionysian cult developed into strict monotheism by the fourth century AD; together with Mithraism and other sects, the cult formed an instance of "pagan monotheism" in direct competition with Early Christianity during Late Antiquity. Scholars from the sixteenth century onwards, especially Gerard Vossius, also discussed the parallels between the biographies of Dionysus/Bacchus and Moses (Vossius named his sons Dionysius and Isaac). Such comparisons surface in details of paintings by Poussin.


title: Dionysus

text: John Moles has argued that the Dionysian cult influenced early Christianity, and especially the way that Christians understood themselves as a "new" religion centered around a savior deity. In particular, he argues that the account of Christian origins in the Acts of the Apostles was heavily influenced by Euripides' "The Bacchae". Moles also suggests that Paul the Apostle may have partially based his account of the Lord's Supper on the ritual meals performed by members of the Dionysian cult.


title: The Beatles discography

text: Worldwide, the English rock band the Beatles released 12 studio albums (17 in the US), 6 live albums, 54 compilation albums, 36 extended plays (EPs), 63 singles, 17 box sets, 22 video albums and 68 music videos. In their native United Kingdom, they released 12 studio albums, 13 extended plays (EPs), including one double EP, and 22 singles. The early albums and singles released from 1962 to 1967 were originally on Parlophone, and their albums and singles from 1968 to 1970 were on their subsidiary label Apple. Their output also includes vault items, remixed mash-ups and anniversary box-sets.


title: The Beatles discography

text: With the first CD releases of their albums in 1987, the Beatles' core catalogue was harmonised worldwide to encompass their original UK studio albums released in 1963–1970, the 1967 US "Magical Mystery Tour" LP and the "Past Masters" compilation, the latter two of which include the recordings released from 1962 to 1970 that are not present on the UK albums (mainly non-album singles and B-sides). Since then, other past releases have been reissued in digital formats and on vinyl. The catalogue is currently distributed by Universal Music Enterprises' Calderstone Productions. This core catalogue contains all 219 tracks intended for commercial release, either as album tracks or singles, that were put out by the Beatles from 1962 to 1970.


title: The Beatles discography

text: The Beatles' international discography is more complicated due to different versions of their albums sometimes being released in other countries, particularly during their early years on Capitol Records in North America. Prior to 1967, it was common practice for British releases to be reconfigured for the American market. The first seven British Beatles albums were converted into ten LPs for the American market, adding material from singles and the UK EPs. With the exception of "Magical Mystery Tour", studio releases from "Sgt. Pepper's Lonely Hearts Club Band" in 1967 forward were uniform in both the UK and the US. The band's first eight albums were released on Parlophone. From 1968, in both the UK and the US, starting with the single "Hey Jude" and the album "The Beatles" (better known as "the White Album"), new releases appeared on the Beatles' own Apple record label, although Parlophone and Capitol catalogue numbers continued to be used for contractual reasons.


title: The Beatles discography

text: The Beatles' discography was originally released on the vinyl format, with full-length long plays (LPs), shorter EPs and singles. Over the years, the collection has also been released on cassette, 8-track, compact disc (CD), on a USB flash drive in MP3 and 24-bit FLAC format, and on digital media streaming services. The Beatles' UK discography was first released on CD in 1987 and 1988. Between 1962 and 1968, the Beatles released their songs in both mono and stereo versions. The band's catalogue was remastered in both mono and stereo in 2009.


title: The Beatles discography

text: The Beatles released seven consecutive Christmas records on flexi disc for members of their UK and US fan clubs, from 1963 to 1969, ranging in length between 3:58 and 7:48. These short collections had a mix of spoken and musical messages for their official fan clubs.


title: Adderall

text: Adderall and Mydayis are trade names for a combination drug called mixed amphetamine salts containing four salts of amphetamine. The mixture is composed of equal parts racemic amphetamine and dextroamphetamine, which produces a (3:1) ratio between dextroamphetamine and levoamphetamine, the two enantiomers of amphetamine. Both enantiomers are stimulants, but differ enough to give Adderall an effects profile distinct from those of racemic amphetamine or dextroamphetamine, which are marketed as Evekeo and Dexedrine/Zenzedi, respectively. Adderall is used in the treatment of attention deficit hyperactivity disorder (ADHD) and narcolepsy. It is also used illicitly as an athletic performance enhancer, cognitive enhancer, appetite suppressant, and recreationally as a euphoriant. It is a central nervous system (CNS) stimulant of the phenethylamine class.


title: Adderall

text: Adderall is generally well-tolerated and effective in treating symptoms of ADHD and narcolepsy. At therapeutic doses, Adderall causes emotional and cognitive effects such as euphoria, change in sex drive, increased wakefulness, and improved cognitive control. At these doses, it induces physical effects such as a faster reaction time, fatigue resistance, and increased muscle strength. In contrast, much larger doses of Adderall can impair cognitive control, cause rapid muscle breakdown, provoke panic attacks, or induce a psychosis (e.g., paranoia, delusions, hallucinations). The side effects of Adderall vary widely among individuals, but most commonly include insomnia, dry mouth, loss of appetite, and weight loss. The risk of developing an addiction or dependence is insignificant when Adderall is used as prescribed at fairly low daily doses, such as those used for treating ADHD; however, the routine use of Adderall in larger daily doses poses a significant risk of addiction or dependence due to the pronounced reinforcing effects that are present at high doses. Recreational doses of amphetamine are generally much larger than prescribed therapeutic doses, and carry a far greater risk of serious adverse effects.


title: Adderall

text: The two amphetamine enantiomers that compose Adderall (levoamphetamine and dextroamphetamine) alleviate the symptoms of ADHD and narcolepsy by increasing the activity of the neurotransmitters norepinephrine and dopamine in the brain, which results in part from their interactions with human trace amine-associated receptor 1 (hTAAR1) and vesicular monoamine transporter 2 (VMAT2) in neurons. Dextroamphetamine is a more potent stimulant than levoamphetamine, but levoamphetamine has slightly stronger cardiovascular and peripheral effects and a longer elimination half-life than dextroamphetamine. The levoamphetamine component of Adderall has been reported to improve the treatment response in some individuals relative to dextroamphetamine alone. Adderall's active ingredient, amphetamine, shares many chemical and pharmacological properties with the human trace amines, particularly phenethylamine and , the latter of which is a positional isomer of amphetamine. In 2020, Adderall was the 22nd most commonly prescribed medication in the United States, with more than 26million prescriptions.


title: Adderall

text: Adderall is commonly used to treat attention deficit hyperactivity disorder (ADHD) and narcolepsy (a sleep disorder).


title: Adderall

text: Adderall is available as immediate-release (IR) tablets or two different extended-release (XR) formulations. The extended-release capsules are generally used in the morning. A shorter, 12-hour extended-release formulation is available under the brand Adderall XR and is designed to provide a therapeutic effect and plasma concentrations identical to taking two doses four hours apart. The longer extended-release formulation, approved for 16 hours, is available under the brand Mydayis. In the United States, the immediate and extended release formulations of Adderall are both available as generic drugs.


title: Adderall

text: Adderall has been banned in the National Football League (NFL), Major League Baseball (MLB), National Basketball Association (NBA), and the National Collegiate Athletics Association (NCAA). In leagues such as the NFL, there is a very rigorous process required to obtain an exemption to this rule even when the athlete has been medically prescribed the drug by their physician.


title: Adderall

text: Adderall has high potential for misuse as a recreational drug. Adderall tablets can either be swallowed, crushed and snorted, or dissolved in water and injected. Injection into the bloodstream can be dangerous because insoluble fillers within the tablets can block small blood vessels.


title: Adderall

text: Many postsecondary students have reported using Adderall for study purposes in different parts of the developed world. Among these students, some of the risk factors for misusing ADHD stimulants recreationally include: possessing deviant personality characteristics (i.e., exhibiting delinquent or deviant behavior), inadequate accommodation of disability, basing one's self-worth on external validation, low self-efficacy, earning poor grades, and having an untreated mental health disorder.


title: Adderall

text: The adverse side effects of Adderall are many and varied, but the amount of substance consumed is the primary factor in determining the likelihood and severity of side effects. Adderall is currently approved for long-term therapeutic use by the USFDA. Recreational use of Adderall generally involves far larger doses and is therefore significantly more dangerous, involving a much greater risk of serious adverse drug effects than dosages used for therapeutic purposes.


title: Adderall

text: Amphetamine, the active ingredient of Adderall, works primarily by increasing the activity of the neurotransmitters dopamine and norepinephrine in the brain. It also triggers the release of several other hormones (e.g., epinephrine) and neurotransmitters (e.g., serotonin and histamine) as well as the synthesis of certain neuropeptides (e.g., cocaine and amphetamine regulated transcript (CART) peptides). Both active ingredients of Adderall, dextroamphetamine and levoamphetamine, bind to the same biological targets, but their binding affinities (that is, potency) differ somewhat. Dextroamphetamine and levoamphetamine are both potent full agonists (activating compounds) of trace amine-associated receptor 1 (TAAR1) and interact with vesicular monoamine transporter 2 (VMAT2), with dextroamphetamine being the more potent agonist of TAAR1. Consequently, dextroamphetamine produces more stimulation than levoamphetamine; however, levoamphetamine has slightly greater cardiovascular and peripheral effects. It has been reported that certain children have a better clinical response to levoamphetamine.


title: Adderall

text: In the absence of amphetamine, will normally move monoamines (e.g., dopamine, histamine, serotonin, norepinephrine, etc.) from the intracellular fluid of a monoamine neuron into its synaptic vesicles, which store neurotransmitters for later release (via exocytosis) into the synaptic cleft. When amphetamine enters a neuron and interacts with VMAT2, the transporter reverses its direction of transport, thereby releasing stored monoamines inside synaptic vesicles back into the neuron's intracellular fluid. Meanwhile, when amphetamine activates , the receptor causes the neuron's cell membrane-bound monoamine transporters (i.e., the dopamine transporter, norepinephrine transporter, or serotonin transporter) to either stop transporting monoamines altogether (via transporter internalization) or transport monoamines out of the neuron; in other words, the reversed membrane transporter will push dopamine, norepinephrine, and serotonin out of the neuron's intracellular fluid and into the synaptic cleft. In summary, by interacting with both VMAT2 and TAAR1, amphetamine releases neurotransmitters from synaptic vesicles (the effect from VMAT2) into the intracellular fluid where they subsequently exit the neuron through the membrane-bound, reversed monoamine transporters (the effect from TAAR1).


title: Adderall

text: The pharmaceutical company Rexar reformulated their popular weight loss drug Obetrol following its mandatory withdrawal from the market in 1973 under the Kefauver Harris Amendment to the Federal Food, Drug, and Cosmetic Act due to the results of the Drug Efficacy Study Implementation (DESI) program (which indicated a lack of efficacy). The new formulation simply replaced the two methamphetamine components with dextroamphetamine and amphetamine components of the same weight (the other two original dextroamphetamine and amphetamine components were preserved), preserved the Obetrol branding, and despite it lacking FDA approval, it still made it onto the market and was marketed and sold by Rexar for many years.


title: Adderall

text: In 1994, Richwood Pharmaceuticals acquired Rexar and began promoting Obetrol as a treatment for ADHD (and later narcolepsy as well), now marketed under the new brand name of Adderall, a contraction of the phrase "A.D.D. for All" intended to convey that "it was meant to be kind of an inclusive thing" for marketing purposes. The FDA cited the company for numerous significant CGMP violations related to Obetrol discovered during routine inspections following the acquisition (including issuing a formal warning letter for the violations), then later issued a second formal warning letter to Richwood Pharmaceuticals specifically due to violations of "the new drug and misbranding provisions of the FD&C Act". Following extended discussions with Richwood Pharmaceuticals regarding the resolution of a large number of issues related to the company's numerous violations of FDA regulations, the FDA formally approved the first Obetrol labeling/sNDA revisions in 1996, including a name change to Adderall and a restoration of its status as an approved drug product. In 1997 Richwood Pharmaceuticals was acquired by Shire Pharmaceuticals in a $186 million transaction.


title: Adderall

text: Richwood Pharmaceuticals, which later merged with Shire plc, introduced the current Adderall brand in 1996 as an instant-release tablet. In 2006, Shire agreed to sell rights to the Adderall name for the instant-release form of the medication to Duramed Pharmaceuticals. DuraMed Pharmaceuticals was acquired by Teva Pharmaceuticals in 2008 during their acquisition of Barr Pharmaceuticals, including Barr's Duramed division.


title: Adderall

text: The first generic version of Adderall IR was introduced to market in 2002. Later on, Barr and Shire reached a settlement agreement permitting Barr to offer a generic form of the extended-release drug beginning in April 2009.


title: Adderall

text: Chemically, Adderall is a mixture of four amphetamine salts; specifically, it is composed of equal parts (by mass) of amphetamine aspartate monohydrate, amphetamine sulfate, dextroamphetamine sulfate, and dextroamphetamine saccharate. This drug mixture has slightly stronger effects than racemic amphetamine due to the higher proportion of dextroamphetamine. Adderall is produced as both an immediate release (IR) and extended release (XR) formulation. , ten different companies produced generic Adderall IR, while Teva Pharmaceutical Industries, Actavis, and Barr Pharmaceuticals manufactured generic Adderall XR. , Shire plc, the company that held the original patent for Adderall and Adderall XR, still manufactured brand name Adderall XR, but not Adderall IR.


title: Adderall

text: Adderall is one of several formulations of pharmaceutical amphetamine, including singular or mixed enantiomers and as an enantiomer prodrug. The table below compares these medications (based on U.S.-approved forms):


title: Persephone

text: In ancient Greek mythology and religion, Persephone ( ; ), also called Kore or Cora ( ; ), is the daughter of Zeus and Demeter. She became the queen of the underworld after her abduction by her uncle Hades, the king of the underworld.


title: Persephone

text: The myth of her abduction, her sojourn in the underworld and her temporary return to the surface represents her functions as the embodiment of spring and the personification of vegetation, especially grain crops, which disappear into the earth when sown, sprout from the earth in spring, and are harvested when fully grown. In Classical Greek art, Persephone is invariably portrayed robed, often carrying a sheaf of grain. She may appear as a mystical divinity with a sceptre and a little box, but she was mostly represented in the process of being carried off by Hades.


title: Persephone

text: Persephone as a vegetation goddess and her mother Demeter were the central figures of the Eleusinian Mysteries, which promised the initiated a happy afterlife. The origins of her cult are uncertain, but it was based on ancient agrarian cults of agricultural communities. In Athens, the mysteries celebrated in the month of Anthesterion were dedicated to her. The city of Epizephyrian Locris, in modern Calabria (southern Italy), was famous for its cult of Persephone, she is the Goddess of marriage and childbirth in this region.


title: Persephone

text: Her name has numerous historical variants. These include Persephassa () and Persephatta (). In Latin, her name is rendered Proserpina. She was identified by the Romans as the Italic goddess Libera, who was conflated with Proserpina. Myths similar to Persephone's descent and return to earth also appear in the cults of male gods including Attis, Adonis, and Osiris, and in Minoan Crete.


title: Persephone

text: In a Linear B Mycenaean Greek inscription on a tablet found at Pylos dated 1400–1200 BC, John Chadwick reconstructed the name of a goddess, "*Preswa" who could be identified with Perse, daughter of Oceanus and found speculative the further identification with the first element of Persephone. "Persephonē" (Greek: ) is her name in the Ionic Greek of epic literature. The Homeric form of her name is "Persephoneia" (Περσεφονεία, "Persephoneia"). In other dialects, she was known under variant names: "Persephassa" (), "Persephatta" (), or simply "Korē" (, "girl, maiden"). On 5th century Attic vases one often encounters the form () Plato calls her "Pherepapha" () in his "Cratylus", "because she is wise and touches that which is in motion". There are also the forms "Periphona" (Πηριφόνα) and "Phersephassa" (). The existence of so many different forms shows how difficult it was for the Greeks to pronounce the word in their own language and suggests that the name may have a Pre-Greek origin.


title: Persephone

text: The etymology of the word 'Persephone' is obscure. According to a recent hypothesis advanced by Rudolf Wachter, the first element in the name ("Perso"- (Περσο-) may well reflect a very rare term, attested in the Rig Veda (Sanskrit "parṣa-"), and the Avesta, meaning 'sheaf of corn'/'ear (of grain)'. The second constituent, "phatta", preserved in the form "Persephatta" (), would in this view reflect Proto-Indo European ', from the root ' "to strike/beat/kill". The combined sense would therefore be "she who beats the ears of corn", i.e., a "thresher of grain".


title: Persephone

text: The epithets of Persephone reveal her double function as chthonic and vegetation goddess. The surnames given to her by the poets refer to her role as queen of the lower world and the dead and to the power that shoots forth and withdraws into the earth. Her common name as a vegetation goddess is Kore, and in Arcadia she was worshipped under the title Despoina, "the mistress", a very old chthonic divinity. Günther Zuntz considers "Persephone" and "Kore" as distinct deities and writes that "no farmer prayed for corn to Persephone; no mourner thought of the dead as being with Kore." Ancient Greek writers were however not as consistent as Zuntz claims.


title: Persephone

text: Plutarch writes that Persephone was identified with the spring season, and Cicero calls her the seed of the fruits of the fields. In the Eleusinian Mysteries, her return from the underworld each spring is a symbol of immortality, and she was frequently represented on sarcophagi.


title: Persephone

text: In the religions of the Orphics and the Platonists, Kore is described as the all-pervading goddess of nature who both produces and destroys everything, and she is therefore mentioned along with or identified as other such divinities including Isis, Rhea, Ge, Hestia, Pandora, Artemis, and Hecate. In Orphic tradition, Persephone is said to be the daughter of Zeus and his mother Rhea, rather than of Demeter. The Orphic Persephone is said to have become by Zeus the mother of Dionysus, Iacchus, Zagreus, and the little-attested Melinoë.


title: Persephone

text: In mythology and literature she is often called dread(ed) Persephone, and queen of the underworld, within which tradition it was forbidden to speak her name. This tradition comes from her conflation with the very old chthonic divinity Despoina ("[the] mistress"), whose real name could not be revealed to anyone except those initiated into her mysteries. As goddess of death, she was also called a daughter of Zeus and Styx, the river that formed the boundary between Earth and the underworld. In Homer's epics, she appears always together with Hades and the underworld, apparently sharing with Hades control over the dead. In Homer's "Odyssey", Odysseus encounters the "dread Persephone" in Tartarus when he visits his dead mother. Odysseus sacrifices a ram to the chthonic goddess Persephone and the ghosts of the dead who drink the blood of the sacrificed animal. In the reformulation of Greek mythology expressed in the "Orphic Hymns", Dionysus and Melinoë are separately called children of Zeus and Persephone. Groves sacred to her stood at the western extremity of the earth on the frontiers of the lower world, which itself was called "house of Persephone".


title: Persephone

text: Her central myth served as the context for the secret rites of regeneration at Eleusis, which promised immortality to initiates.


title: Persephone

text: In a Classical period text ascribed to Empedocles, describing a correspondence among four deities and the classical elements, the name "Nestis" for water apparently refers to Persephone:


title: Persephone

text: Of the four deities of Empedocles' elements, it is the name of Persephone alone that is taboo – "Nestis" is a euphemistic cult title – for she was also the terrible Queen of the Dead, whose name was not safe to speak aloud, who was euphemistically named simply as "Kore" or "the Maiden", a vestige of her archaic role as the deity ruling the underworld. "Nestis" means "the Fasting One" in ancient Greek.