whose fathers, too, have been killed. It is so in all the plays, or in all but all, and very commonly the sub-plot is the main plot working itself out in more ordinary men and women, and so doubly calling up before us the image of multitude. Ibsen and Maeterlinck have on the other hand created a new form, for they get multitude from the Wild Duck in the Attic, or from the Crown at the bottom of the Fountain, vague symbols that set the mind wandering from idea to idea, emotion to emotion. Indeed all the great Masters have understood, that there cannot be great art without the little limited life of the fable, which is always the better the simpler it is, and the rich, far-wandering, many-imaged life of the half-seen world beyond it. There are some who understand that the simple unmysterious things living as in a clear noon-light are of the nature of the sun, and that vague many-imaged things have in them the strength of the moon. Did not the Egyptian carve it on emerald that all living things have the sun for father and the moon for mother, and has it not been said that a man of genius takes the most after his mother? 1903. Footnotes: [1] 'Marianne's Dream' was certainly copied from a real dream of somebody's, but like images come to the mystic in his waking state. [2] This essay was first published in the _United Irishman_. Transcriber's Note: Unmatched quotation marks and spelling variants are presented as in the original text. End of Project Gutenberg's Ideas of Good and Evil, by William Butler Yeats