The fable has not yet exhausted the facts. Obeying the poetical necessities of the epic story, and conforming also to the apocalyptic vision of the world’s fortunes, which are to follow the first victory over the dragon and the binding of the adversary for a thousand years, we have the peace and happiness of the disenchanted household once more disturbed. The prince of the powers of darkness, that great magician who is the author of all the mischief from the beginning, is “loosed out of his prison,” and gathering all his forces for a final battle, he surrounds the castle. The queen’s army, led by the knight, go out to meet the grand enemy in battle, and he is utterly overthrown and his power broken for ever. The conquerors return in triumph to the castle, and in the midst of their rejoicings a herald from the outer wall, who has witnessed the scene, announces the total annihilation of the enemy. The elements, marshaled by their ruling spirits, have overwhelmed him; a tempest of hail and fire bursts upon his castle, and the earth opening has swallowed up the last vestige of his kingdom and power. The battle of Gog and Magog (20th Rev.) in which the deceived of the four quarters of the earth are gathered together, and compass the camp of the saints about, is the very prototype of this incident in our story, and “the fire which came down from heaven,” and the “casting of the devil which deceived them into the lake of fire and brimstone,” is only a different expression of the same final deliverance of the human family from the last enemy. The marriage rites close and crown the grand achievement, and a magnificent tableau illustrates the consummation. The spirits of the elements arise, and array themselves in a vertical arch upon the stage. The centre and summit is occupied by a new figure, now first introduced, costumed appropriately in pure white, representing Truth in augurated or universal harmony; the Spirit of Earth at the base on one side, and of Water at the other, while impersonations of Air and Fire occupy the intermediate positions. This bow of beauty and promise, emblematically dressed and decorated, stood a happy symbol of the restored order of the material creation. The household, artistically arranged and displayed, represented the divine order of society, where government and liberty, refinement and efficiency, luxury and industry, are reconciled, and man with his fellow man is organized in the harmonies of the creative scheme. And, that the joy may be full to the utmost limits of communion and sympathy, the Fairy of the Oak is seen ascending, to take possession, in behalf of her race, of their recovered heaven—the guerdon of their services to the redeemed family of Adam. So, the last scene in the drama mingles the new Heavens with the new Earth, and all the worlds in our universe triumph together in the general resurrection, as they rejoiced on the birth-day of the creation.