Sometimes he expresses or hints at the view that our souls return to the air or ether from which they sprang.[187] Again he uses the Homeric pictures of a cheerless other world. Once he refers to the Orphic doctrine in the cryptic utterance, “Who knows but life be death, and death be reckoned life below?”—verses which Plato and other philosophers were to interpret after him. If space allowed, we might gladly dwell on Euripides’ sympathy with human poverty and suffering, on the hints he gives that he perceived the common brotherhood of man. In his noble ideals of womanhood he surpasses his contemporaries. Above all these matters it is important for us with our present interest to note that more than once the tragedian seems to wish to inculcate the truth that the standard of morality among men was far superior to that of the traditional pantheon. No other poet of his age sets forth the true nobility of man so perfectly as Euripides. The last play of the long list he wrote was the Bacchae. Composed in Macedonia, it was first produced at Athens after the poet’s death. As was fitting for a tragedy written in the home of Dionysus, the drama deals with the Dionysiac possession, enthusiasm, the “divine madness,” on which the Greeks ever set high store. No play has so baffled interpretation. Some scholars think it a recantation; others vigorously deny it. Personally I am inclined to hold with Adam that Dionysus in the play “stands for the spirit of enthusiasm in the ancient Greek meaning of the word,” and that the principal lesson of the drama is to be found in the verse, “Not with knowledge is wisdom bought”[188]—that is, reason is not all in man, but there is something greater—enthusiasm, inspiration.[189] From what we have been considering thus far, it is evident that Euripides’ spirit was primarily iconoclastic; there can be no question that he contributed to the decay of the ancient beliefs and that he helped drive the Olympians from their thrones in the minds of thinking men. For fifty years he openly uttered his criticisms in the theater at the high festival of Dionysus before the quick-witted Athenians. The effect must have been great, for no poet enjoyed more widespread popularity. On the positive side Euripides offers no system of religion or of morals. Indeed, he seems never to have arrived at any complete unity in his thought. But he is stimulating now, and in his own day unquestionably goaded men to reflection, just because he raises so often fundamental questions—the questions which reflecting men were asking then and have been asking ever since—questions which are never wholly answered, but which always demand an answer. The stimulating character of his dramas makes him indeed one of the great religious poets of the world. FOOTNOTES: [154] _Thuc._ 2, 43-44. [155] _Frgg._ 14-16. [156] _Frg._ 11. [157] _Frg._ 18. [158] _Frgg._ 23-26. [159] _Frgg._ 1, 2, 30, 31, 40-42; cf. 57, 67, 90. [160] _Frgg._ 14, 15, 29, 32, 41, 128.