as a tremendous power in the development of Greek literature. Readers who enjoy drama but have never quite accustomed themselves to the stately conventions of fifth century tragedy very often like it better than any other Greek play. It is curiously different from its twin sister the Bacchae.
A reader of the Bacchae who looks back at the ritual sequence described above (p. 64) will be startled to find how close this drama, apparently so wild and imaginative, has kept to the ancient rite. The regular year-sequence is just clothed in sufficient myth to make it a story. The daemon must have his enemy who is like himself; then we must have the Contest, the Tearing Asunder, the Messenger, the Lamentation mixed with Joy-cries, the Discovery of the scattered members—and by a sort of doubling the Discovery of the true God—and the Epiphany of the Daemon in glory. All are there in the Bacchae. The god Dionysus, accompanied by his Wild Women, comes to his own land and is rejected by his kinsman, King Pentheus, and by the women of the royal house. The god sends his divine madness on the women. The wise Elders of the tribe warn the king; but Pentheus first binds and imprisons the god;
