prohibition so that no trespass in any transaction can fail to attract its attention without a repair and restoration being effected; and we may add the individual is unable to attend to any other content. Conversely, however, honour may resolve itself into something wholly formal and contentless, in so far as it contains nothing but the shell of the Ego, which is formally infinite, or only accepts an entirely bad content as obligatory upon it. In this case, more particularly in dramatic representations, honour remains but a wholly frosty and unvitalized object: its aims express no longer an essential content but simply an abstract form of consciousness. But it is only an essentially substantive content which possesses the contingency of law, and is capable of explication in its multifold environment, and can be apprehended in its imperative sequence of consequences. This defect in profound content especially rises to the surface when casuistry of reflection includes within the embrace of honour matter which is purely accidental and insignificant which the individual comes in contact with. There is never a lack of material, because this casuistical tendency analyses with great subtlety in its modes of distinction, and many aspects may be elicited and made the subject of honour which in themselves are quite unimportant Above all the Spaniards have elaborated this casuistry of reflection over matters of honour in their dramatic poetry, and made their particular heroes of honour deduce all their consequences in their speeches. In this way the fidelity of the married woman may form a subject of investigation into the minutest details, and the mere suspicion of another, nay, the possibility of such even when the husband is aware that the suspicion is false may be an affair of honour. If this leads to collisions we can derive no real satisfaction from the process, because we have nothing of material moment to arrest us, and consequently instead of the resolution of an antagonism which is causally inevitable we can only extract from it a painfully contracted feeling. Also in French plays we frequently find that it is an honour which is barren, that is entirely abstract, which is made the essential fulcrum of interest Still more extreme is this essentially frostlike and lifeless type of it apparent in the drama "Alarcos" of Herr Friedrich von Schlegel. The hero here murders his noble and loving wife. And we ask why. Simply for honour's sake; and this honour consists in this that he may marry the king's daughter, for whom he entertains no affection, and thus become the king's son-in-law. Such a pattern is of course contemptible and an ignoble conception which merely prides itself as something lofty and of infinite intension.