“Now there are fine tales in the volumes of the Magi—in the iron-bound melancholy volumes of the Magi. Therein, I say, are glorious histories of the heaven and of the earth, and of the mighty sea—and of the genius that over-ruled the sea, and the earth, and the lofty heaven. There was much lore, too, in the sayings that were said by the Sybils, and holy, holy things were heard of old by the dim leaves which trembled round Dodona, but as Allah liveth, that fable which the Demon told me as he sat by my side in the shadow of the tomb, I hold to be the most wonderful of all.” Or this? “And then did we, the seven, start from our seats in horror and stand trembling and aghast, for the tones in the voice of the shadow were not the tones of any one being, but of a multitude of beings, and, varying in their cadences from syllable to syllable, fell duskily upon our ears in the well-remembered and familiar accents of many thousand departed friends.” The landscape of most of those early Maeterlinck plays is the landscape of “Ulalume”: The skies they were ashen and sober, The leaves they were crisped and sear, It was night in the lonesome October In my most immemorial year. It was hard by the dim lake of Auber In the misty mid-region of Weir, It was down by the dark tarn of Auber In the ghoul-haunted woodland of Weir. But it was a more material setting that Maeterlinck gave to “The Miracle of St. Anthony.” Not the intangible Nowhere or the impalpable At any Time, but the present day, a commonplace house, and a small provincial town in the Low Countries. Instead of stately marble pillars, or primeval forest, or limitless sea, a room with leather-covered benches against the walls, two wooden stoves and an umbrella stand, on which are hats, a cape and wraps. Instead of swans and sleeping beauties, the old drudge Virginie, with her skirts turned up and her legs bare, swabbing the floor. In the next room is lying the body of the Maiden Lady Hortensia, who in her lifetime had been exceedingly generous in her donations to the church, and especially devoted to the memory of the blessed St. Anthony of Padua. It is the Saint himself, come to restore her to life as a reward for her piety, who presents himself at the door-sill as the curtain rises. In appearance he is not as the dead woman might have expected. Bare-headed and bare-footed, his beard and hair are scrubby and tangled, and he is clothed in a soiled, sack-like, and much dirtied cowl. The story of how he was received by the relatives, the doctor, the parson, and the gathered guests may be read by those who turn to the following pages. It was first presented to American play-goers by the Washington Square Players under the direction of Mr. Edward Goodman at the Bandbox Theatre in New York, the evening of May 7th, 1915. It had the quality of novelty, for it was one of the least known of all the plays. There was a story current at the time that it was produced from