In the second, the social tragedy _Les Aubes,_ the scenario is the present time. It has the purple scenery of _Les Villes Tentaculaires_, of the cities with the arms of polypi, which drain the blood of the poor dying country. Beggars, paupers, those who are starving, those who have been evicted, march to Oppidomagnum, the modern industrial city, and besiege it. It is the past once again storming the future. In the lyrical trilogy this struggle had been shaped in a hundred visionary instances; here, however, the bright sky of reconciliation is arched above the battle-field, over the realities hovers the dream. For here the future joins hands with the present. The great tribune, Hérénien, breaks the backbone of this battle and shows himself the hero of a new morality by secretly admitting the enemy into the city--in the old sense the action of a traitor--by yielding and thus transforming the struggle into a reconciliation. He is the tragic bearer of the moral idea that enmity may be overcome by goodness, and he falls as the first martyr of his faith. Verhaeren's social conception, his superb description of realities, here merge slowly in a Utopia; the dawns of the new days begin to shine above the pasts that are dead; the din of rebellion fades away in harmony. This drama, like the others, is far remote from the possibilities of the majority of theatres, because of the fact that here too an ethical idea is expressed with all the glow and ecstasy which as a rule in modern dramas is only found in the utterance of erotic desire.