In a somewhat different way Mr. Galsworthy, Mr. Shaw, and Mr. Granville Barker are affected by the fluidity of their environment. Of Mr. Galsworthy I shall have something more to say, and need merely point out for the moment that in _Fraternity_, _Strife_, and especially _Justice_, the author is not merely indicating but advocating changes which, instead of being left to accident, are to be guided in accordance with a definite human purpose. Mr. Shaw is so minded that he preaches against change wherever he perceives it, and clamours for it when he perceives it not. Thus in _The Doctor's Dilemma_ and the Preface to it, finding himself confronted with great changes in medical science, he denounces medical progress and its pretensions as a superstition and a fraud. In _Getting Married_, on the other hand, finding that the public is still often content with old-fashioned ideas of sex relations and home life, he ridicules "home life as we understand it," on the ground that it is "no more natural to us than a cage is natural to a cockatoo." I am not accusing him of any real inconsistency in thus alternating between conservative and revolutionary dogmas. He would doubtless hold that changes ought to have been made where there have been none, and that those which have occurred have not followed the course which he, or men gifted with similar foresight, would have prescribed. It may be objected that the influence of change upon literature is not only felt by our contemporaries, but has affected the literature of all times; that it is the function of men of letters to be ahead of their contemporaries and to initiate ideas which are productive of change; that the history of literature is the history of the progress of thought and imagination; and that therefore the present age does not differ in this respect from others. To which I would reply that whilst other literatures have represented or initiated change, there has never been a time when so many of the best creative intellects have consciously concerned themselves with this process, making change of conditions either their artistic subject or their deliberate practical object. The reason, of course, is obvious; there never has been a time when the world was undergoing such a startling and rapid transformation. It is true, the economic, material, scientific, and moral changes in the Athens of the fifth century came about quickly and drastically, and the reconstitution of intellectual and moral ideas mooted by the Sophists found a profound expression in the dialectic of the drama. How far the Elizabethans were influenced by the revival of learning and science, the discovery of the new world and the expansion of commerce, is a question I need not embark upon. But it will not be disputed that the face of the world has never in any known period of history been so changed out of all recognition as it has been by the scientific and industrial revolutions of the nineteenth century.