The breach between Victorianism and that which succeeded it was not more complete in manners than in art and literature. By the time that King George V ascended the throne, the great lights of the preceding century were, almost without exception, flickering out or already extinguished; those who survived the transition in time were none the less influenced so deeply by the change in atmosphere that their later work differs from the earlier as much as one man's from another's. This is so much more than the normal advance from youth to maturity that it suggests a revaluation, a new point of view and a reaction to changed psychological conditions without. While Kipling's art as a supreme story-teller attained by natural development to a rarer perfection, his change of standpoint may be measured by the distance from any one of the _Plain Tales_ to _They_ or _The Brushwood Boy_; with Conrad the change is from _Nostromo_ to _Chance_; with James from _The Wings of a Dove_ to _The Awkward Age_. The younger men, untrammelled by memories of what they had tried to express in a previous incarnation, worked with a freedom of which they only became conscious when they paused to compare it with the restrictions under which their predecessors laboured. It has been said that, in the early nineties, _The Second Mrs. Tanqueray_ opened a new chapter in dramatic history; when it was reproduced a dozen years later, it hardly seemed, for all its skill and power, so daring as before; and, if it were reproduced again to-day after another dozen years, the younger critics would doubtless continue to praise its technique, but they might be unable to realise its psychology. In 1920 it is felt to be surprising that any one should bother when a man marries his mistress; that she should commit suicide when another old lover comes back into her life is inconceivable: to the modern playwright that is not a dramatic theme worthy of his mettle, to the modern English world that is not a problem to cause more than passing embarrassment to any one. Whether England has become morally more lax or merely less reticent about its laxity is a problem which no one can solve; but the greatest change that has overtaken literature and art in the last twenty years is in the new freedom to choose any theme and to treat it by any method. The plays of Shaw and the novels of Wells had embraced every subject from brothels and baldness to God and gunpowder-factories, from patent medicine and politics to love and linen-drapery. The form of the medium has changed as profoundly as the content; the play and the novel have been made an avowed platform for the dramatic or narrative discussion of any thesis that interests the author at any given moment.