then yielding gradually to the divine power, agrees to go disguised in woman's garb to watch the secret worship of the Maenads on Mt. Kithairon. He goes, is discovered by the Maenads and torn in fragments. His mother, Agave, returns in triumph dancing with her son's head, which, in her madness, she takes for a lion's. There is Lamentation mixed with mad Rejoicing. The scattered body is recovered; Agave is restored to her right mind and to misery; the god appears in majesty and pronounces doom on all who have rejected him. The mortals go forth to their dooms, still faithful, still loving one another. The ghastly and triumphant god ascends into heaven. The whole scheme of the play is given by the ancient ritual. It is the original subject of Attic tragedy treated once more, as doubtless it had already been treated by all or almost all the other tragedians.
But we can go further. We have enough fragments and quotations from the Aeschylean plays on this subject—especially the Lycurgus trilogy—to see that all kinds of small details which seemed like invention, and rather fantastic invention, on the part of Euripides, are taken straight from Aeschylus or the ritual or both. The timbrels, the fawnskin, the ivy,
