years ago, can realise adequately how wholly free from moral and social problems and social friction such a society can be. It is in studying such societies that the truth is vividly forced on one, that the key to half, and more than half, of the phenomena in our own social condition, can be found only in our rapidly changing conditions necessitating equally rapid change in our conceptions, ideals, and institutions.) Thirdly, the unrest and suffering peculiar to our age is caused by conflict going on within the individual himself. So intensely rapid is the change which is taking place in our environment and knowledge that in the course of a single life a man may pass through half a dozen phases of growth. Born and reared in possession of certain ideas and manners of action, he or she may, before middle life is reached, have had occasion repeatedly to modify, enlarge, and alter, or completely throw aside those traditions. Within the individuality itself of such persons, goes on, in an intensified form, that very struggle, conflict, and disco-ordination which is going on in society at large between its different members and sections; and agonising moments must arise, when the individual, seeing the necessity for adopting new courses of action, or for accepting new truths, or conforming to new conditions, will yet be tortured by the hold of traditional convictions; and the man or woman who attempts to adapt their life to the new material conditions and to harmony with the new knowledge, is almost bound at some time to rupture the continuity of their own psychological existence. It is these conditions which give rise to the fact so often noticed, that the art of our age tends persistently to deal with subtle social problems, religious, political, and sexual, to which the art of the past holds no parallel; and it is so inevitably, because the artist who would obey the artistic instinct to portray faithfully the world about him, must portray that which lies at the core of its life. The “problem” play, novel, and poem are as inevitable in this age, as it was inevitable that the artist of the eleventh century should portray tournaments, physical battles, and chivalry, because they were the dominant element in the life about him.