In this book, morality, conduct, life are Surveyed from every point of the compass, but from an eminence always. Austerity holds no place in his philosophy; he finds room even "for the hours that babble aloud in their wantonness." But all those who follow him are led by smiling wisdom to the heights where happiness sits enthroned between goodness and love, where virtue rewards itself in the "silence that is the walled garden of its happiness." It is strange to turn from this essay to Serres Chaudes and La Princesse Maleine, M. Maeterlinck's earliest efforts--the one a collection of vague images woven into poetical form, charming, dreamy, and almost meaningless; the other a youthful and very remarkable effort at imitation. In the plays that followed the Princesse Maleine there was the same curious, wandering sense of, and search for, a vague and mystic beauty: "That fair beauty which no eye can see, Of that sweet music which no ear can measure." In a little poem of his, Et s'il revenait, the last words of a dying girl, forsaken by her lover, who is asked by her sister what shall be told to the faithless one, should he ever seek to know of her last hours: "Et s'il m'interroge encore Sur la derniere heure?-- Dites lui que j'ai souri De peur qu'il ne pleure ..." touch, perhaps, the very high-water mark of exquisite simplicity and tenderness blent with matchless beauty of expression. Pelleas et Melisande was the culminating point of this, his first, period--a simple, pathetic love-story of boy and girl--love that was pure and almost passionless. It was followed by three little plays--"for marionettes," he describes them on the title-page; among them being La Mort de Tintagiles, the play he himself prefers of all that he has written. And then came a curious change: he wrote Aglavaine et Selysette. The setting is familiar to us; the sea-shore, the ruined tower, the seat by the well; no less than the old grandmother and little Yssaline. But Aglavaine herself is strange: this woman who has lived and suffered; this queenly, majestic creature, calmly conscious of her beauty and her power; she whose overpowering, overwhelming love is yet deliberate and thoughtful. The complexities of real life are vaguely hinted at here: instead of Golaud, the mediaeval, tyrannous husband, we have Selysette, the meek, self-sacrificing wife; instead of the instinctive, unconscious love of Pelleas and Melisande, we have great burning passion. But this play, too, was only a stepping-stone--a link between the old method and the new that is to follow. For there will probably be no more plays like Pelleas et Melisande, or even like Aglavaine et Selysette. Real men and women, real problems and disturbance of life--it is these that absorb him now. His next play will doubtless deal with a psychology more actual, in an atmosphere less romantic; and the old familiar scene of wood, and garden, and palace corridor will be exchanged for the habitual abode of men.