In _Les loups_, we have the obverse of the same tragedy. Here is depicted a man who would rather sacrifice himself than the law. One who holds with Faber in _Le triomphe de la raison_ that a single injustice makes the whole world unjust; one to whom, as to Hugot, the other hero in the same play, it seems indifferent whether justice be victorious or be defeated, so long as justice does not give up the struggle. Teulier, the man of learning, knows that his enemy d'Oyron has been unjustly accused of treachery. Though he realizes that the case is hopeless and that he is wasting his pains, he undertakes to defend d'Oyron against the patriotic savagery of the revolutionary soldiers, to whom victory is the only argument. Adopting as his motto the old saying, "fiat justitia, pereat mundus," facing open-eyed all the dangers this involves, he would rather repudiate life than the leadings of the spirit "A soul which has seen truth and seeks to deny truth, destroys itself." But the others are of tougher fiber, and think only of success in arms. "Let my name be besmirched, provided only my country is saved," is Quesnel's answer to Teulier. Patriotism, the faith of the masses, triumphs over the heroism of faith in the invisible justice. This tragedy of a conflict recurring throughout the ages, one which every individual has forced upon him in wartime through the need for choosing between his responsibilities as a free moral agent and as an obedient citizen of the state, was the reflection of the actual happenings during the days when it was written. In _Les loups_, the Dreyfus affair is emblematically presented in masterly fashion. Dreyfus the Jew is typified by an aristocrat, the member of a suspect and detested social stratum. Picquart, the defender of Dreyfus, is Teulier. The aristocrat's enemies represent the French general headquarters staff, who would rather perpetuate an injustice once committed than allow the honor of the army to be tarnished or confidence in the army to be undermined. Upon a narrow stage, and yet with effective pictorial force, in this tragedy of army life was compressed the whole of the history which was agitating France from the presidential palace down to the humblest working-class dwelling. The performance at the Théâtre de l'Oeuvre on May 18, 1898, was from first to last a political demonstration. Zola, Scheurer-Kestner, Péguy, and Picquart, the defenders of the innocent man, all the chief figures in the world-famous trial, were for two hours spectators of the dramatic symbolization of their own deeds. Rolland had grasped and extracted the moral essence of the Dreyfus affair, which had in fact become a purifying process for the whole French nation. Leaving history, the author had made his first venture into the field of contemporary actuality. But he had done this only, in accordance with the method he has followed ever since, that he might disclose the eternal elements in the temporal, and defend freedom