the sacred pine, the god taking the forms of Bull and Lion and Snake; the dances on the mountain at dawn; the Old Men who are by the power of the god made young again; the god represented as beardless and like a woman; the god imprisoned and escaping; the earthquake that wrecks Pentheus' palace; the victim Pentheus disguised as a woman; all these and more can be shown to be in the ritual and nearly all are in the extant fragments of Aeschylus. Even variants of the story which have been used by previous poets have somehow a place found for them. There was, for instance, a variant which made Pentheus lead an army against the Wild Women; in the Bacchae this plan is not used, but Pentheus is made to think of it and say he will perhaps follow it, and Dionysus is made to say what will happen if he does. (Aesch. Eum. 25 f.; Bac. 50 ff. 809, 845.) There never was a great play so steeped in tradition as the Bacchae.
The Iphigenîa was all invention, construction, brilliant psychology; it was a play of new plot and new characters. The Bacchae takes an old fixed plot, and fixed formal characters: Dionysus, Pentheus, Cadmus, Teiresias, they are characters that hardly need proper names. One might just as well call
