The question of the "highest" or "most tragic" form of tragedy seems to have been settled by general agreement. It has been held that the tragic of the justified opposing force is the more full of meaning and importance, for the reason that more interesting and complex feelings are called into play on each side than in the case of the unjustified opposing force. But the definition of the tragic drama we have won seems further to illuminate our undoubted preference for this type. We demand aesthetically all that will make the confrontation, the dramatic tension, more clearly felt; and we cannot realize fully a side which should be unjustified. In such a play as Maeterlinck's "Aglavaine and Selysette" there is no movement, and even the conflict is subterranean; yet, as all the characters are in their way noble, and in their way justified, we find it among the most poignant of his plays. Nay, more, in any situation the more nearly the conflict is shown to be absolutely inevitable, arising out of the very nature of life as we know it,--completely justified, or at least FELT as inevitable on both sides,--the more are we shaken by the distinctive tragic emotion. The conflict of duties to one's self and to the world is the sharpest of tragedies. Luther, as Freytag well shows, is a really tragic figure from the moment when we conceive of the inner connection of his intolerance with all that is good and great in his nature. As the expression of such a conflict of impulses good in themselves, "Magda" is a great tragedy than the "Joy of Living;" "Ghosts" than "Hedda Gabler;" the story of "Francesca Da Rimini" (I do not mean D'Annunzio's play) than "La Citta Morta."