is pleasure in individual assertiveness and not in inertia. No doubt either Calypso or Circe was more attractive than Penelope, but Ulysses was not content. He had to continue his wanderings even to his own home, and when he had killed of all the suitors and was restored to his diplomatic spouse, there were doubtless days when he wished himself back with the enchantress on the lovely isle--days when he would have changed places with his father, Sisyphus, and rolled the ever returning stone with will and energy. Ease and passivity were a torture to him. A picture of life is painted by that wonderful artist, Gabrielle d'Annunzio, in "The Triumph of Death." Yes, I hear the hurtling of such missles as "decadent," "obscene," "vulgar," "impious." Nevertheless d'Annunzio is one of the great masters. His pigments may be mud or muck. His brush is the brush of an Angelo. His finished product is life itself, breathing, pulsing life, through which the blood rushes loud enough to be heard. Life in all its phases, from the loftiest to the lowliest. Demetrius, wealthy, scholarly, meditative, one would suppose needed no legislation or literature to make him happy. He possessed all the world had to give. "A mild, meditative man, with a face full of virile melancholy, and a single white curl in the center of his forehead among the black hair, giving him an old appearance." He sought earnestly and sedulously for the secret meaning of life. He tried to reach and unravel its symbols and allegories; he tried to interpret the furtive gestures which he beheld in the shadows, and he passed into deeper shadows and more oppressive silences through the ghastly gates of suicide, while his idiotic sister remained to chatter and grimace. Jaconda remained gibbering and pleased with the world and with herself. George saw this and he saw many other things which he could not understand. He saw "Oreste of Chapelles" firing the simple minds of the people to fanaticism as he went up and down like a fury. He saw the pilgrims at the sanctuary and the beggars and cripples on his return from the sanctuary to Cassalbordino--horrible monsters, not fashioned, or scarce fashioned in God's image, and he saw that they had their families and their belongings with them, that they piteously plead for alms and that they danced and sung, cursed and caroused, made merry over the deformities of each other, and presented a phase of life wholly incomprehensible. Laws or literature could not increase their happiness. Their apparent miseries were not real. He saw Colas, ignorant, stupid, superstitious, but content. He saw Candia, proud of her fecundity, slaving, singing. He saw Favetta, the young singer with the falcon-like eyes, the idol of her friends, simple, modest, happy. He saw the peasants in their mysterious rites "consecrating the nativity of bread" in the harvest field. They needed neither laws nor literature to improve their condition. They were the happiest of mortals.