The fact remains that the story of the Bacchæ, in which the frenzied mother helps to tear to pieces her own son, and the God can but say it is all fated, is as revolting to the rational moral sense as the story of the Prometheus. If this be an eirenicon, it is surely the most ironical in literary history. To see in the impassive delineation of such a myth an acceptance by the poet of popular "sound sense," and "a desire to put himself right with the public in matters on which he had been misunderstood," seems possible only to academics trained to a particular handling of the popular creed of their own day. This view, first put forward by Tyrwhitt (Conjecturæ in Æschylum, etc. 1822), was adopted by Schoone (p. 20 of his ed. cited by Sandys). Lobeck, greatly daring wherever rationalism was concerned, suggested that Euripides actually wrote against the rationalists of his time, in commendation of the Bacchic cult, and to justify the popular view in religious matters as against that of the cultured (Aglaophamus--passages quoted by Sandys, p. lxxvi). Musgrave, following Tyrwhitt, makes the play out to be an attack on Kritias, Alkibiades, and other freethinkers, including even Sokrates! K. O. Müller, always ineptly conventional in such matters, finds Euripides in this play "converted into a positive believer, or, in other words, convinced that religion should not be exposed to the subtilties of reasoning; that the understanding of man cannot subvert ancestral traditions which are as old as time," and so on; and in the Polonius-platitudes of Tiresias and the worldly-wise counsels of Cadmus he finds "great impressiveness" (Hist. Lit. Anc. Greece, p. 379).