_Aglavaine et Sélysette_ is the most beautiful play that Maeterlinck has yet written; it is as beautiful as _Le Trésor des Humbles._ Hitherto, in his dramatic prose, he has deliberately refrained from that explicit beauty of phrase which is to be found in almost every sentence of the essays. Implicit beauty there has been from the first, a beauty of reverie in which the close lips of his shadowy people seem afraid to do more than whisper a few vague words, mere hints of whatever dreams and thoughts had come to them out of the darkness. But of the elaborate beauty of the essays, in which an extreme simplicity becomes more ornate than any adornment, there has been, until now, almost nothing. In _Aglavaine et Sélysette_ we have not merely beauty of conception and atmosphere, but writing which is beautiful in itself, and in which meditation achieves its own right to exist, not merely because it carries out that conception, or forms that atmosphere. And at the same time the very essence of the drama has been yet further spiritualized. Maeterlinck has always realized, better than any one else, the significance, in life and art, of mystery. He has realized how unsearchable is the darkness out of which we have but just stepped, and the darkness into which we are about to pass. And he has realized how the thought and sense of that twofold darkness invade the little space of light in which, for a moment, we move; the depth to which they shadow our steps, even in that moment's partial escape. But in some of his plays he would seem to have apprehended this mystery as a thing merely or mainly terrifying--the actual physical darkness surrounding blind men, the actual physical approach of death as a stealthy intruder into our midst; he has shown us people huddled at a window, out of which they almost feared to look, or beating at a door, the opening of which they dreaded. Fear shivers through these plays, creeping across our nerves like a damp mist coiling up out of a valley. And there is beauty certainly in this "vague spiritual fear;" but certainly a lower kind of beauty than that which gives its supreme pathos to _Aglavaine et Sélysette._ Here is mystery which is also pure beauty, in these delicate approaches of intellectual pathos, in which suffering and death and error become transformed into something almost happy, so full is it of strange light.