Most interesting and important are those plays which were associated with the extant dramas; these have been already discussed. Next in attractiveness is the _Lycurgea_ (Λυκουργεία, or trilogy of Lycurgus), to which the _Bacchæ_ of Euripides had close affinity in subject. Lycurgus was a king of the Edoni, a Thracian people, who opposed the religion of Dionysus when it entered his realm, and was punished with death. The first play, the _Edoni_ (Ἠδωνοί), depicted the collision between Dionysus and his enemy. There was an interview in which Lycurgus taunted the god with his effeminate looks,[256] and which apparently closed with the overthrow of his palace by the might of the god.[257] The longest fragment gives an interesting account of the instruments of music used in the bacchic orgies. The name of the second play is not certain; it was either _Bassarides_ (Βασσαρίδες) or _Bassaræ_ (Βασσάραι)—the _Women of the Fawn-Skin_. Here the anger of Dionysus fell upon Orpheus the musician, who neglected the new deity and devoted himself to Apollo. He was torn to pieces by the Bacchantes and the Muses gathered his remains, to which they gave sepulture in Lesbos. The _Youths_ (Νεανίσκοι) formed the last piece of the trilogy; practically nothing is known of it. It was the chorus which gave its name to the play in all three cases. The satyric drama was called _Lycurgus_; if we may judge from one of the three fragments the tragic treatment of wine was transformed into a comic discussion of beer.[258]