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Dr. Kay has done well to apply the insigh ts of self psychology to a literary work that can be so greatly illuminated by such an approach. Kay's aim has been to delineate the author's unifying poetic vision and to demonstrate that it is consistent with contemporary psychoanalytic understanding of human personality. He has successfully demonstrated that the earlier psychoanalytic approach to this play, in terms of sexual conflict with an emphasis on unresolved oedipal issues, does a disservice to the complexity of the author's intent. For example, the character of Pentheus is to be understood better in terms of self pathology than castration anxiety; the relationship between Dionysus and Pentheus can be understood as an attempt on the part of Pentheus to establish a relationship with a masculine selfobject and to come closer to his mother through forming a feminine identification. Even though he initially attempts to repudiate Dionysus, Pentheus is drawn to the god as a way of augmenting his deficient self. In addition, Agave is seen as a prototype for Athenian women, denigrated and rejected by their society, and thus unconsciously vengeful and hostile toward their male offspring. Seen in the psychohistorical context, the character Pentheus is consistent with that of a man who never had an opportunity to develop a healthy sense of masculinity, or to derive comfort in his relationships with women.
In his chapter, Kay presents a review of the literature that has concerned itself with the play from both a literary and psychological point of view. I would add to his review the fairly new, free version of the play and critical comments by the Nigerian playwright, Wole Soyinka,