Dionysos: The Civic God

Dionysos Eleuthereus by August Frickenhaus (Public Domain)
Dionysos Eleuthereus by August Frickenhaus (Public Domain)

It is largely thanks to Friedrich Nietzsche that many people assume Dionysos is a god of chaos, discord, and social disorder. Nietzsche’s philosophy has had far-reaching influence, and for some, his writing was their first introduction to Dionysos. While Nietzsche’s work is profound and often beautiful, he employs the gods in service of his philosophical agenda. As a result, the modern image of Dionysos is frequently one of excess: wild drunkenness and orgies.

However, Dionysos is a god of paradox and duality. While he does embody liberation, ecstasy, and uninhibited passion, he is also a god of social order and civic structure.

This essay argues that Dionysos, often misunderstood as a god of chaos, was in fact a powerful force for civic cohesion, social innovation, and cultural development in the ancient world.

Wine: Fuel of the Bronze Age

Early myths involving Dionysos include an element that modern polytheists sometimes overlook: water. In Homer’s Iliad, Dionysos retreats into the sea to escape the wrath of Lycurgus. In Homeric Hymn 7, he is kidnapped by pirates, whom he later transforms into dolphins as punishment. In ritual festivals, he is often drawn in a ship, and his phallus is ritually thrown into the sea.  These stories and rituals hint at a maritime aspect of Dionysos — the first indication of his civic nature.

The sea was central to Aegean cultures; it functioned as the highways of the ancient world. Dionysos, in this context, becomes a symbol of maritime trade. Wine was not only a key trading commodity, it was essential to trade itself and, by extension, to the development of civilisation.

According to some of the earliest Mycenaean records, wine was among the most significant commodities of the Bronze Age. (1) What made wine unique was its regional character — influenced by soil, climate, and production methods. Each region produced wine with a distinctive flavour, and cities would exchange their local varieties with others. This trade helped form a wide network across the Mediterranean, fostering cultural relationships and opening channels for other vital goods, such as copper and tin — the foundations of bronze production.

Beyond trade, wine played a practical role in sea travel. Fresh water would stagnate and become unsafe during long voyages, while wine could be stored and consumed safely, helping sailors stay hydrated. Sea travel was long and risky; sailors often faced malnutrition. Scurvy, caused by a lack of vitamin C, was a common threat. Although Hippocrates likely did not understand the exact cause of the disease, he recommended wine as a treatment, and wine does contain vitamin C. (2)

Hippocrates also recognised the antiseptic and healing properties of wine. He advised that no wound be treated with any liquid other than wine. In regions like the island of Thasos, wine was produced specifically for medical use. This tradition continued into the Roman era, where the physician Galen recommended wine for treating wounds, digestive issues, and constipation. (3)

Wine was also vital to early urban life. Bronze Age communities lived in close quarters, often around a central fortress or polis, and dense populations would contaminate local water supplies. Clean water was often hard to access, but alcohol’s antiseptic properties meant that wine, even in small amounts, could kill harmful bacteria. This made life in the first cities possible.

Wine was central to Bronze Age life — fuelling trade, enabling safe seafaring, and fostering cultural exchange. It was, quite literally, the lifeblood of civilisation.

The Theatre: Birth of Democracy

Theatre likely originated in oral performances of Homer’s epics. A lead bard or chorus would narrate, while actors pantomimed scenes to illustrate the story. According to Aristotle, a major shift occurred when the actor Thespis began interacting with other performers using spoken dialogue, rather than simply miming alongside a narrator. (4) Actors took on distinct roles and brought characters to life — giving rise to tragedy. This innovation revolutionised theatre, providing a platform for actors and playwrights to express original ideas, often reflecting the political climate of the polis.

The origins of comedy are less clear. Aristotle claims the memory of comedy is lost, but theorised that it emerged from phallus dances or from popular protest. Lower-class citizens would cover their faces with chalk for anonymity and drunkenly shout insults or cause disturbances outside the homes of aristocrats. (5) These early farces eventually evolved into performance art. Over time, slapstick comedy gave way to more structured, narrative-driven satire. Comedy retained political relevance, frequently parodying prominent figures in the polis. Retaliating against comic artists was considered dishonourable, making satire a powerful — and protected — form of social critique. More than mere entertainment, comedy became an instrument of free speech and civic engagement.

The physical structure of the theatre itself is essential to understanding the rise of democracy. It served as a central gathering place for the polis, welcoming all social classes — even women and slaves. With attention focused on the central stage, the person who spoke there held a voice that reached the entire community. Politicians would often commission plays and precede them with public speeches, using the occasion to communicate directly with the people. In turn, the audience could respond, creating a forum for dialogue. The theatre, therefore, functioned not just as a space for performance, but as a civic centre — a place where political and social ideas were shared, tested, and debated.

Other important events took place in the theatre as well, including the freeing of slaves and the public announcement of citizenship. (6) The god presiding over this space was Dionysos Eleuthereus — Dionysos the Liberator — underscoring the theatre’s deep connection to freedom, expression, and civic life.

Artists as Leaders

Poets, playwrights, and actors held celebrated roles in Greek society. They were often welcomed by the ruling class and became politically influential, with some achieving legendary status. Artists were seen as intermediaries between the mortal and divine. By the third century BCE, the Dionysian Artists — a formal guild of performers — had become a recognised religious authority.

As an institution, the Dionysian Artists expanded their influence beyond art. They acted as diplomats and advisers, particularly in the post-Alexandrian world. Kings associated with the Dionysian Artists often adopted the title Neos Dionysos — the new Dionysos — to legitimise their rule through divine association. This practice continued into the Roman era, where emperors drew on Dionysian symbolism to reinforce their authority. (7)

The Boundless God

Worship of Dionysos could take place anywhere. He was not confined by borders, class, or politics. As a result, his processions travelled freely throughout Greece — even during times of war.

One notable incident, recorded by Plutarch, involved a group of Thyiades — Attic-Delphic Bacchants — who, overcome with Dionysian ecstasy, accidentally wandered into a rival city during a time of war. They fell asleep in the town’s agora, unaware of the danger. The next morning, local soldiers prepared to arrest them. In protest, the women of the city surrounded the Thyiades to protect them, then peacefully escorted them to the city’s borders. (8)

This example of free and unbounded worship was not unique. During the Dionysia in Athens, foreigners from other city-states were invited to participate, making the festival one of the earliest instances of religious tourism. From these urban celebrations, processions would spread out into the countryside, bringing blessings to villages and farmland, and sharing Dionysian revelry with all.

The Thiasus — retinue of Dionysos — often travelled to sacred sites, including groves and mountains, to perform rites and construct ritual objects such as thyrsoi and wreaths. These groups often included women, who held leadership roles and maintained the structure of the Thiasus. Participation in Dionysian rites granted them unprecedented women’s rights: the right to assemble, to travel independently, and to practise their religion without interference.

Similarly, the Dionysian Artists were granted exceptional privileges. They had the legal right to free movement and were exempt from taxation, arrest, or harm by any city-state.

Even slaves and prisoners were not excluded from Dionysian worship. During the Anthesteria, prisoners were given wine rations and temporary liberties. (9) Slaves were allowed into Dionysian temples and could participate in the Mysteries.

Regardless of gender, age, class, or status, all were welcome to worship Dionysos. There were no prohibitions, no boundaries. He was — and remains — a truly boundless god.

Conclusion

The modern image of Dionysos as a god of chaos and excess owes much to Friedrich Nietzsche. While Nietzsche’s interpretation is powerful and evocative, it captures only one aspect of a deeply complex deity. In truth, Dionysos is a god of paradox — both liberator and lawgiver, destroyer and creator. He fuelled trade across the seas, made urban life possible through wine, gave voice to political discourse through theatre, and offered religious freedom to all. Far from tearing civilisation apart, Dionysos helped to build it. He is not just a god of wine — he is central to the fabric of society.

*****

Sources:

1. Catherine E. Pratt, Oil, Wine, and the Cultural Economy of Ancient Greece From the Bronze Age to the Archaic Era, 2021

2. https://www.guildsomm.com/public_content/features/articles/b/geoffrey-crawford/posts/wine-and-medicine

3. ibid

4. Aristotle, Poetics, Translated by S. H. Butcher Written, 350 BCE

5. Carl Kerenyi, Dionysos: Archetypical Image of Indestructible Life, Pages 333-334, 1976

6. Richard Seaford, Dionysos, Pages 29, 2006 (citing: Aeschines 3.41)

7. https://thyrsus.blog/2025/03/31/the-dionysian-artists-dionysiakoi-tekhnitaior-dionuson-technitaii/ see sources for additional information.

8. Plutarch, Concerning the Virtues of Women, Moralia, Page 513
https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Plutarch/Moralia/Bravery_of_Women*/A.html

9. Richard Seaford, Dionysos, Pages 29, 2006

Further Reading

Filip Doroszewski and Dariusz Karlowicz (editors), Dionysus and Politics: Constructing Authority in the Graeco-Roman World, 2021

Is Hellenic Polytheism Closed or Appropriated?

Source: Dionysian Rituals and the Golden Zeus of China by Lucas Christopoulos

I live in Australia, where First Nations people have historically suffered horrific treatment under colonial white authorities. These injustices continue today, with high rates of poverty, unemployment, limited access to education and healthcare, and disproportionate incarceration within Indigenous communities. However, one positive outcome amid this ongoing struggle is the establishment of cultural protections. These legal safeguards prevent outsiders—including members of different Aboriginal tribes—from appropriating traditional practices, languages, rites, art, and stories that are not their own. Such protections are vital, as centuries of discrimination and genocide have placed these traditions at risk. For a non-Indigenous person to use tribal customs or art for personal gain is not only cultural appropriation but also a criminal offence.

In recent years, some self-identified “Ethnic Hellenic Polytheists” have attempted to establish similar protections for ancient Hellenic traditions. While I can understand the reasoning behind this, the comparison to Indigenous cultural protections doesn’t entirely hold up. In some cases, this push for exclusivity veers into dangerous nationalistic rhetoric, raising concerns about ethnic supremacy rather than genuine cultural revivalism.

What does it Mean for a Religion to be Closed?

A closed religion is typically one that is exclusive to a specific group, ethnicity, or location, or requires initiation. These traditions do not actively seek converts through proselytization and generally do not recognise outsiders as adherents without formal permission.

For example, Australian Aboriginal spiritual beliefs are often tied to specific tribal lands and passed down through those raised within that cultural context (frequently known as “The Dreaming”). Even within the same tribe, certain aspects of the belief system may be restricted—some rites are exclusive to men or women, each with their own initiatory customs. This complexity makes the term “closed religion” somewhat simplistic, as it fails to capture the nuances of these traditions.

Additionally, some religions labelled as “closed” do allow outsiders to join under specific conditions, such as undergoing initiation or receiving approval from religious leaders. Others may permit conversion through marriage—certain Jewish sects, for instance, allow Gentiles to convert upon marrying a Jewish partner.

Is Ancient Greek “Religion” Closed?

Defining these belief systems as a religion is complex, as ancient Hellenism—or Hellenic Polytheism—functions similarly to Hinduism in that it encompasses diverse philosophies and sects, some of which may be non-religious or separate from “mainstream” Hellenic Polytheism. However, for the sake of clarity and brevity, I will classify it as a religion in the context of the Pan-Hellenic worship of the Olympian and Greek gods, where cultic expressions of devotion often shared common customs throughout the classical world.

To answer the question posed in the title, the simple answer is no, it is not a closed religion. Hellenic polytheism was a tribal and language-based cultic system that varied across regions while still maintaining core Pan-Hellenic traditions shared among different groups. Despite it often being considered de-centralised it did have important cult centres that were Pan-Hellenic, this includes Delphi, The Delian League and rites like the Mysteries, which were available to everyone who could speak Greek, even slaves.

Athens was particularly known for its religious tourism, welcoming foreigners to participate in major festivals. It was also famous for its theatrical performances, attracting actors from across the ancient world. And let’s not forget sports and artistic competitions which were open to international involvement.

The Ancient Greeks were also prolific colonisers, establishing settlements throughout the Mediterranean, including parts of Western Europe and North Africa. Greek colonies in Italy, North Africa, France, and Spain date as far back as 500 BCE, an exceptionally early period in Ancient Greek history. The Greek world extended into regions such as modern-day Türkiye, Cyprus, Syria, and the Levant. Delphic inscriptions indicate that people from these distant colonies not only participated in religious practices but also made offerings in the sacred city, demonstrating an international presence in Hellenic religious life.

Slavery played a significant role in this cultural exchange. Enslaved people were taken from all over the ancient world, including North-Eastern Europe, Arabia, and Sub-Saharan Africa. Despite their lack of personal freedoms, they were allowed and encouraged to participate in local religious rites.

Given this context, the ancient world was inherently multicultural and multiracial—something expected of an international hub like the Aegean.

That Was Before Alexander (the Great)

Alexander was like a quick burning hot flame. Building on his father’s legacy—who had nearly unified Greece into a single nation—the young king launched a relentless campaign into the Persian Empire, dismantling it with astonishing speed. He conquered all of Asia Minor, Egypt, the Levant (including Jerusalem), and pushed deep into the Near and Far East, establishing Greek kingdoms as far as the Himalayas. He was defeated as he entered India and retreated to Babylon, where he died.

Despite his sudden death, Alexander’s campaigns left behind powerful Greek-ruled kingdoms in the East, many of which became rivals. These kingdoms played a crucial role in spreading Hellenic culture and religion far beyond Greece. Evidence of this influence can be seen as far as China and Japan, with Greek artistic and architectural styles found as far as Southeast Asia.

The Romans

And then, of course, there were the Romans. By the mid-2nd century BCE, the Roman Republic had taken control of Greece. While Roman religion was distinct from Greek religion, the two were deeply interconnected. With Rome’s dominance over Europe and the Near East, Greco-Roman religious practices experienced a resurgence, spreading even further than before.

In Western Europe, Roman influence extended as far as Germany and Britain. In Africa, Roman rule encompassed Egypt, the entire North African coast, and regions deeper into Sub-Saharan Africa, where both people and animals were taken for use in gladiatorial “games.” In the East, Roman religious influence reached Arabia, India, and beyond.

What Can We Take Away from This History Lesson?

From North to South and East to West, Hellenic Polytheism existed and was shared on an international scale, making it arguably the first global religion. There was never a sense of exclusive ownership, closed traditions, or ethnic restrictions—such ideas run contrary to Greek ideals. While mystery cults could be considered “closed” due to their secretive nature, most major ones were open to anyone who wished to participate.

Ancient Greek religion was not only accessible to foreigners but actively embraced foreign influences. In many ways, it was an appropriating religion, often absorbing local deities, temples, and traditions into its own framework. Rather than being rigidly exclusive, it thrived through adaptation and syncretism.

Modern Greek Identity and the Rise of Nationalism

I live in Melbourne (Naarm, by its Indigenous name) in Australia, which is often considered the second-largest Greek city in the world by Hellenic population. This is largely due to the turbulent history of modern Greece and the resulting diaspora in the mid-20th century. Greece never fully recovered from Roman occupation in the 2nd century BCE and, for over two thousand years, has been repeatedly pillaged, plundered, and occupied by foreign powers. We must never forget the genocide and persecution Greeks have suffered throughout history. However, it’s important to recognise that these atrocities were not always committed against the ancient Greeks but rather against people with a different Greek identity and religion. Today, religion is deeply ingrained in Greek national identity, with around 90% of Greeks identifying as Orthodox Christian.

Some may be surprised to learn that modern Greece is younger than Australia as a formal nation. Greece was recognised as an independent state in 1832 and became a republic in 1974. Around the same time as this political shift, the modern Greek neo-pagan movement began to take shape. The Supreme Council of Ethnic Hellenes (YSEE) was officially established in 1997, but efforts to revive the old religion had been brewing for decades through books, magazines, and pamphlets. The rise of this movement is closely tied to the formation of modern Greece as a new republican national identity.

Between 2007 and 2010, Greece experienced an economic collapse, commonly referred to as The Crisis (Η Κρίση, Krísi), from which the country has yet to fully recover. During these hardships, nationalism surged. The Far-Right gained popularity by exploiting public suffering, offering support exclusively to Greek nationals while fostering hostility toward foreigners. A major player in this movement was the ultra-nationalist party Golden Dawn, which adopted Nazi-like symbolism, slogans, and tactics. Like the Nazis, they looked to their so-called pagan roots and infiltrated modern pagan communities, using them to spread nationalist ideology. As a result, open and often vicious hostility toward non-Greeks became increasingly visible.

As with all nationalism, times of crisis drive people to cling to and defend their identity, often leading to efforts to exclude and distance themselves from perceived outsiders. However, this perspective clashes with the historical reality of Hellenic Polytheism, which was never exclusive to Greeks. Ancient Greeks wouldn’t have even identified as Greek in the modern sense. The borders of contemporary Greece bear little relevance to the vast territories of the ancient Greek world. The religious practices of modern Greece are fundamentally opposed to those of ancient Greece. And, most significantly, the people themselves have changed over those two thousand years of hardship.

Conclusion

Australian Aboriginal cultures are often regarded as the oldest continuous cultures on Earth. The occupation of Australia by white settlers is merely a blink of an eye in the long history of its Native peoples. Meanwhile, Greece has experienced periods of their own international dominance and long stretches of foreign occupation, subjugation, and destruction.

Legal protections for Australian Aboriginal traditions serve as a crucial effort to preserve what remains before it is lost forever. In contrast, many Greek traditions have already faded into history—fragments of a distant past that modern movements may seek to revive but can never fully reclaim. This does not mean that modern Greek pagans cannot honour their heritage, but rather that no single group can claim exclusive ownership of a belief system that, by its very nature, was never closed.

Rather than focusing on exclusivity, the revival of Hellenic Polytheism can embrace the ancient Greek ideals of cultural exchange, adaptation, and hospitality. Instead of closing its doors, it can thrive by engaging with the broader international community, much like the ancient Greeks did over two and a half millennia ago.