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 Rh There are those, of course, to whom this earthiness and wildness are repulsive, to whom old Martin Doul's love pleading to Molly Byrne is unendurable. A dirty "shabby stump of a man," a beggar, blind and middle-aged, is asking a fine white girl, young, and as teasing as an ox-eyed and ox-minded colleen may be, to go away with him. Not an exalting situation, exactly, as you read of it or see it on the stage, but once you see it on the stage, where its animality you would expect would be heightened, you realize—and it is strange to you that you do so realize—first of all its pathos, and again its pathos, and always, the scene through, its pathos. Had Molly gone with old Martin it would have revolted you, for it would have been unnatural, but since she did not, and since she was not the sort to be easily insulted, you only wonder at the power of passion and realize its pathos, and the irony of it.

There is, however, a situation ironical of love in "In the Shadow of the Glen" that is more appalling to some than any irony of "The Well of the Saints." I mean the scene at the end, where Nora, turned out by her husband and forsaken by her lover, goes out into the rain with the tramp, leaving husband and lover drinking together in utmost amity. The pathos of this and the irony of it are of a part with the pathos of the close of "Hedda Gabler." Hedda and Nora, selfish and willful both, if you like, are yet fine women both, and human, as Zenobia and Eustacia are human, and pathetic in their fates, with a pathos that even Hawthorne and Mr. Hardy have seldom the power to make us feel. But the fate of Nora was ironic as the fate of none of the others, for all