The changes to be rung on such a theme are not a few. But Maeterlinck has elected to introduce a new and more disturbing element. It is Arielle, the subconscious nature of Merlin, who always warns him of impending danger. Instead of the old-fashioned soliloquy, we are given, because of this dualism, dialogues between Merlin and his subliminal self. This sounds terribly metaphysical, but as treated by Maeterlinck Merlin's _alter ego_--his _doppelgänger_, as the German mystics have it--is a charming young woman attired in gray and purple, minor in key. If she is his constant mentor, he has also the power of projecting her into the visible world--materializing, the spiritualists call it; and as Klingsor tempted Parsifal by transforming Kundry into a seductive shape, so Merlin uses Arielle as an agent of temptation against his son, his weak and handsome Lanceor. The plot is slight. Love, a very passionate, earthly love, is the theme. Doubtless Maeterlinck intends the entire _conte_ as a symbol; theatre-goers will be more interested in its external garb. Briefly, Merlin interrogates the sleeping Arielle and learns that his son Lanceor, who has just arrived on the island, is at the crisis of his life. "Le destin de ton fils est inscrit tout entier dans un cercle d'amour." He is condemned by the Fates to die within the month if he does not find a perfect love, and to this love all is permitted, even crime. If the girl upon whom he casts his eyes will sacrifice all for her love, then happiness will be his portion. We are plunged into a fairy land at the first words of Merlin. This gift of evoking an atmosphere in a few phrases is Maeterlinck's own. All resemblance to Shakespeare's folk vanishes as the scheme is unfolded. At first we see Merlin addressing Arielle. When she sleeps he loses his force and so he awakens her. After learning Lanceor's destiny, he resolves to be on his guard. Joyzelle is cast up by the sea, and, encountering Lanceor, the inflammable pair fall madly in love with each other. Nothing can come between, or if any one does--! Lanceor is more assured than Joyzelle that this is his first, his perfect passion. But Merlin, who pretends anger, as does Prospero, resolves to test the newly kindled flame. He threatens to kill Joyzelle if she meets Lanceor, but she defies him, and refuses to bind herself to any promise imposed upon her. To a sonorous and emphatic _Non_! the curtain intervenes.