The tragedy the Bacchae is part of Iphigenia at Aulia. The tragedy tells a story of the divine nature of Dionysiac and punishment. Following Aristotles view of tragedy, it is possible to say that this play meets the canon and is based on the main steps of classical tragedy. The Bacchae is driven by the law of probability and necessity. The main characters cannot escape punishment depicted as a necessary evil. Dionysiac initiation fails both as a person and as a collective rite. To put it in another way: as portrayed in the tragic genre, Dionysiac initiation culminates in a cruel interplay of illusion and reality. In the Bacchae, the plot is the most important element of the narration in contrast to minor roles of characters development. Tragedy dwells on the notion of the ritual as a placeless being, a danger for himself, a threat, and a contagion for the wider community into which
he cannot be integrated anew. Dionysiac initiation is steered towards the space of the City and it is a thoroughly civic ritual pattern that acts as the embracing frame. In the Bacchae, Europium uses speeches to portray and analyze the characters and their actions. Another important element of the tragedy is a chorus that repeats some ideas and predicts tragic actions. All these elements are strongly associated with one of the most central rituals of ancient societies, the ritual of sacrifice, which defines the human condition by demarcating its proper space as the sphere in between the realms of beasts and gods. As the most important, the end of the play is tragic inspiring such emotions like grief and sorrow. At the end of the play, Agave asks: Father, wheres the body of my dearest son? Cadmus replies: I had trouble tracking the body down. I brought back what I found (1606-1608).