In Act II, we have the reign and fall of the mediæval faith, all of which is mysteriously beheld by these same shadowy personalities, Deukalion and Pyrrha. In Act III. the faith of the present is similarly treated. In Act IV. we have at last the coming man, or developed personality fairly installed as ruler of himself and of the world, and Prince Deukalion and Pyrrha, the ideal man and the ideal woman, now for the first time united in deed as well as in inspiration, pace forth into the world to learn it and to enjoy it. Mr. Taylor, as I said, is so explicit upon the points of personality and modernness as compared with the Æschylean play, that few quotations would be needed from his work, and I will not attempt even such a sketch of it as that of Shelley's. For example, in Scene 1, Act I, of _Prince Deukalion_, Scene I being given in the stage direction as "_A plain sloping from high mountains towards the sea; at the base of the mountains lofty, vaulted entrances of caverns; a ruined temple on a rocky height; a shepherd asleep in the shadow of a clump of laurels; the flock scattered over the plain_,"--a shepherd awakes and wonderingly describes his astonishment at certain changes which have occurred during his sleep. This shepherd, throughout the book, is a symbol of the mass of the common people, the great herd of men. Voices from various directions interrupt his ejaculations: and amongst other utterances of this sort, we have presently one from the nymphs--as representative of the Greek nature--myths--which is quite to our present purpose. NYMPHS (Who are to the shepherd voices, and nothing more): "Our service hath ceased for you, shepherds! We fade from your days and your dreams, With the grace that was lithe as a leopard's, The joy that was swift as a stream's! To the musical reeds, and the grasses; To the forest, the copse, and the dell; To the mist and the rainbow that passes, The vine, and the goblet, farewell! Go, drink from the fountains that flow not! Our songs and our whispers are dumb:-- But the thing ye are doing ye know not, Nor dream of the thing that shall come." In Scene IV., Deukalion, leading Pyrrha, passes into a cavern, the last mouth of Hades left on the earth. Presently, the two emerge upon "a shadowy, colorless landscape," and are greeted by a chorus of ghosts, which very explicitly formulates that dreary impossibility of growth which I pointed out in the last lecture as incident to the old conception of personality. "CHORUS OF GHOSTS. "Away! Ashes that once were fires, Darkness that once was day, Dead passions, dead desires, Alone can enter here! In rest there is no strife, * * * * * Like some forgotten star, What first we were, we are, The past is adamant: The future will not grant That, which in all its range We pray for--change."