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of the sorrow that shall, perhaps, wholly purify. . . .

In the meanwhile, we are in the hands of strange powers, whose intentions we are on the eve of divining. At the time of the great tragic writers of the new era, at the time of Shakespeare, Racine, and their successors, the belief prevailed that all misfortunes came from the various passions of the heart. Catastrophes did not hover between two worlds: they came hence to go thither, and their point of departure was known. Man was always the master. Much less was this the case at the time of the Greeks, for then did fatality reign on the heights; but it was inaccessible, and none dared interrogate it. To-day it is fatality that we challenge, and this is perhaps the distinguishing note of the new theatre. It is no longer the effects of disaster that arrest our attention; it is disaster itself, and we are eager to know its