Then why does the poet dwell on the personal existence of Dionysus? Even if we refuse to believe the theory outlined already, that this person is a human hierophant, we can still answer the question. Euripides is concerned not merely to tell us the truth about ethics, but to discuss the current theology of his day. The majority of his fellows believed in a personal Zeus, a personal Athena and Dionysus. He wishes to convince them of the falsity, the pernicious falsity, of such a creed. Take this play in its superficial meaning and you find a person who is detestable—a god who does wrong, and who is, therefore, no god at all.[754] Away with him; purify your theology. And when this is done, we find, not that the drama has fallen to pieces, but that now it is coherent and forcible. There is in the human soul an instinct for ecstasy, for a relinquishment of self in order to feel and bathe in the non-human glory of Nature. Trample this instinct ruthlessly down as did Pentheus, and your life is maimed and shrivelled. IPHIGENIA AT AULIS[755] (Ἰφιγένεια ἡ ἐν Αὐλίδι) was produced soon after the poet’s death in 406 B.C. by his son, together with _Alcmæon at Corinth_ and the _Bacchæ_. The scene shows Agamemnon’s tent at Aulis, where the Greeks are encamped ready to sail for Troy, but delayed by contrary winds. Before they can set out Agamemnon’s daughter Iphigenia must be sacrificed to Artemis. The king has written to his wife bidding her send the maiden—to marry Achilles. We now see him in agony beneath the night-sky and entrusting to an aged slave a letter revoking the first. The chorus (women of Colchis) enter and describe the pastimes of various heroes. Menelaus intercepts the letter and reproaches his brother with treachery. After a vigorous dispute they learn that Clytæmnestra and Iphigenia are approaching. Menelaus relents, but they realize that the sacrifice must proceed. The chorus sing Aphrodite’s power and the judgment of Paris. Agamemnon greets his family with half-concealed distress, and in vain attempts to send his wife back forthwith. A choric ode describes the impending doom of Troy. Achilles, seeking Agamemnon, meets Clytæmnestra, who to his amazement greets him as a son-in-law. In the midst of their embarrassment the old slave comes forward and reveals Agamemnon’s purpose. The queen in agony appeals to Achilles, who promises to defend Iphigenia. The chorus sing the bridals of Peleus and Thetis, Achilles’ parents. Then mother and daughter piteously beg Agamemnon to relent; he is heart-broken but determined. Iphigenia utters a lyric lament, after which Achilles tells how the army maltreated him for championing Iphigenia. He and the queen are excitedly debating, when Iphigenia proclaims her readiness to die for the cause of Greece, and departs, singing her farewell to life. A messenger brings a description of the sacrifice: at the last moment the princess miraculously disappeared, and a hind was substituted for her by the goddess.