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 in both cases, a revolt against the arbitrary and omnipotent power by which the universe is ruled. They thus squarely meet the severest test of true courage, and are embodiments of a most wonderful symbolic conception: that of infinite heroism coupled with infinite pity.

The Spirit and chorus of the Years may remind one of the chorus of the Argive elders in the Agamemnon, although certain differences immediately become evident. A somewhat better study could perhaps be made by comparing the "Spirits Sinister and Ironic" with the Eumenides in the play of that name. Here, however, the Greek conception is much more physical, barbaric, and unrestrained, although what we might call "intellectual savagery" is not wanting in Hardy's demons. Then, too, no hint is given as to the possible material representation of Hardy's "Intelligences," whereas we are fairly familiar, through accurate and very suggestive descriptions, with the images that were conjured up before the minds of the Athenians by the divinities of Æschylus, however crudely they may have been represented in the primitive theatre of his time.

The question of adequate theatrical presentation of the ideas treated by both writers brings us to a battlefield of art and criticism already torn and devastated by the scorching missiles of many a controversy. Let it be admitted at the outset that both dramatists are guilty of transcending infinitely in their works the mechanical stage limitations of their times. The dramas of Æschylus were in the first place conceived for the stage, however, and not for readers of literature, and the performances of them seem to have satisfied their audiences.