"The Masks"

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The bastion (in Greek:Βάκχαι) is a Greek tragedy by Orphids, probably the last tragedy he wrote. The play, which won first place in the Pande Festival, was once held in four years, in which a contest was held between plays.

The play depicts the worship of God Dionysus, and presents it as a character in the play (the player who groves it was supposed to appear with a constant smiling mask, even in light of the horrors that take place on stage). Dionysus sues from Lithuania, Pantheus, recognition of his existence and worshiping him. Pantheus refuses, and in turn, the women of the city, including the mother of Pantheeus, in the "crazy of Buckie" and murder him.

During the "Buckie madness" means the combination of Dionysus and the believer in it) were women dancing naked in the forest, drunken, and able to hide a man in their dark hands, and eat his flesh.

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The theme of the play begins, in the Palace of Abeai, when God Dionysus returns from the face of the people of Abiai the course of his journey and the reason to return to his hometown. Dionysus explains the events of his birth from the daughter of Samala, the daughter of Genesis, and the god of Zeus, who died in his birth because of the lightning cradles from which he had converted to Dionysus. Some city residents are not convinced of the story that Zeus has passed Samala. In fact, his mother’s sisters, Samala, claim that this is a crude lie and that their sister actually rose from a foreign man rather than God Zeus, and that the lightning sages were sent as punishment for her lies that Zeus had enriched her. As a result of the women’s words, who were not willing to accept Dionysus as well as to sustain his nephew, curse Dionysus the women of Tayya and prepare them to carry fierce madness. They run away from their homes and begin to celebrate the remote mountains. The King Pantheus comes there from freedom for a woman to look at the pogroan, revealing and torn apart by his mother Agaha and her sisters.

The pastor and the question of disguise.
From the beginning of the play there is a violation of the spatial principle. God is in the earline and not in the vertical axis. This is how God can move from above. This violation involves the disguise of Dionysus, to the theater, which is actually trying to deceive the players. There is a double disguise here: a player who is looking for God who is free to man.

He descends to avenge himself because he does not win a trustee. The belief is closely related to God’s identity, and therefore must understand the relationship between the symbol, the mother of Dionysus, the god Zeus of his father. Dionysus says his mother is mortal who has had a relationship with Zeus. Herra discovered the novel and appeared before the symbol of the pregnant woman in the form of a wise old man. The two were connected andfriended, and Ramla was even right to entrust the secret to the child’s father. However, the mountain drew an unhappiness and abhorred doubts in the heart of a symbol until the latter demanded Zeus to reveal himself to her. Zeus did so, but his divine glory drew her symbol and killed her. However, Zeus saved the fetus and was planted inside the thigh, and after several months Dionysus was born. Since according to the conventions of the theatre, a figure that tells her resume must be true, we the audience believe her, but it does not mean that the characters in the play themselves will believe her. Only the audience knows the true identity of Dionysus, however, the characters should be based on logic to judge.
The myth is unacceptable by the rationale and therefore the claim of Pantheus regarding the story of Dionysus is more plausible.
The audience knows the existence of Dionysus as because for him on the festival the play is rising, and it is its existence in the play because of its appearance in the pathologist.
The tragic irony of the play is based on the gap between the viewer’s knowledge and the knowledge of Pantheus, who cannot know that the existence of a true God. This gap in knowledge is critical for Pantheus, but this knowledge will only have it when it is too late. In other words, in the center of the story