The bulk of the literature of the subject, in short, suggests sombre reflections on the moral value of much academic thinking. There are, however, academic suffrages on the side of common sense. Mr. Haigh (Tragic Drama of the Greeks, pp. 313-14) gently dismisses the "recantation" theory; Hartung points out (Euripides restitutus, 1844, ii, 542, cited by Sandys) that Euripides really treats the legend of Pentheus very much as he treats the myth of Hippolytos thirty years earlier, showing no change of moral attitude. E. Pfander (cited by Sandys) took a similar view; as did Mr. Tyrrell in his edition of the play (1871), though the latter persisted in taking the commonplaces of the chorus about true wisdom (395) for the judgments of the dramatist. Euripides could hardly have been called "the philosopher of the stage" (Athenæus, iv, 48) on the strength of sentiments which are common to the village wiseacres of all ages. The critical method which ascribes to Euripides a final hostility to rationalism would impute to Shakespeare the religion of Isabella in Measure for Measure, when the talk of the Duke as a friar counselling a condemned man is wholly "pagan" or unbelieving. In his admirable little book, Euripides and his Age (1913), Prof. Murray repeats his account of the Bacchæ with some additions and modifications. He adheres to the "heartfelt glorification of Dionysus," but adds (p. 188): "No doubt it is Dionysus in some private sense of the poet's own ... some spirit of ... inspiration and untrammelled life. The presentation is not consistent, however magical the poetry." As to the theory that "the veteran free-lance of thought ... now saw the error of his ways and was returning to orthodoxy," he pronounces that "Such a view strikes us now as almost childish in its incompetence" (p. 190). He also reminds us that "the whole scheme of the play is given by the ancient ritual.... All kinds of small details which seemed like ... rather fantastic invention on the part of Euripides are taken straight from Æschylus or the ritual, or both.... The Bacchæ is not free invention; it is tradition" (pp. 182-84). And in sum: "It is well to remember that, for all his lucidity of language, Euripides is not lucid about religion" (p. 190). In conclusion we may ask, How could he be? He wrote plays for the Greek stage, which had its very roots in religious tradition, and was run for the edification of a crudely believing populace. It is much that in so doing Euripides could a hundred times challenge the evil religious ethic given him for his subject-matter; and his lasting vogue in antiquity showed that he had a hold on the higher Greek conscience which no other dramatist ever possessed.