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122 Douglas Goldring, give a faithful analysis of the distressing errors amid which they move and which they themselves by no means escape. Yet others, finally, taking refuge in the contemplation of the past, rediscover there the same circle of misfortunes and of hopes—rediscover the "eternal cycle." They cloak their grief in the fashions of other days, thus ennobling it and despoiling it of its poisoned dart. From the lofty eyrie of the ages, set free by art, the soul contemplates suffering as in a vision, no longer aware whether that suffering belongs to the present or to the past. Stefan Zweig's Jeremias is the finest contemporary specimen known to me of this august melancholy which, looking beyond the bloody drama of to-day, is able to see in it the eternal tragedy of mankind.

Not without struggle can such serene regions be attained. A friend of Zweig before the war, his friend to-day, I have witnessed all that was endured by this free European spirit whom the war robbed of that which he had held most dear; robbed him of his artistic and humanist faith, thereby depriving him of any reason for existence. The letters he wrote me during the first year of the war reveal his agonising torments in all their tragical beauty. By degrees, however, the immensity of the catastrophe, communion with the universal sorrow, restored to him the calm which resigns itself to destiny; for he came to see that destiny leads to God, who is the union of souls. Of the Hebrew race, he has drawn his inspiration from the Bible. It was easy to find there analogous instances of national madness, of the fall of empires, and of heroic patience. One figure, above all, attracted him, that of the great forerunner, Jeremiah the persecuted prophet, foretelling the woeful peace which was to flourish upon the ruins.

Zweig devotes to Jeremiah a dramatic poem, which I propose to analyse, making extensive quotations. The work consists of nine scenes. It is written in prose mingled with verse, sometimes free, sometimes rhymed, the