The Greeks conceived their gods to be almost as Man's victory over fate.powerless as a human protagonist to divert the tides of circumstance, and postulated a Destiny above them all. The dramatists of Christendom, while also impelled to treat life as it is, its best and its worst, recognize no conflict between Deity and Destiny. Pagan and Christian alike present man, the image of his Maker, as exercising his highest function when he rises superior to fate. Thus Job rises, and thus rise Prometheus, Œdipus, Brutus, Hamlet, Wallenstein, Faust, Van Artevelde, and Gregory VII.; and likewise their fine heroic countertypes, Electra, Alcestis, Antigone, Cordelia, Desdemona, Thekla, Jeanne D'Arc, Doña Sol, and all the feminine martyrs of the grand drama.
In arguing that the strength of a play is in ratio The dramatic genius.to its objectivity, I assume, of course, that other things are equal. After all, the statements are the same, for only the poet endowed with insight and passion can give a truthful, forcible transcript of life. Otherwise many would outrank Shakespeare, being equally impersonal, more artistic in plot-structure, truer perhaps to history and to the possibilities of events. They often compose successful plays, striking as to incident and use of stage accessories: but more is required—the imagination that creates brave personalities, the cognate high poetic gifts—to make a composition entirely great. Add to such endowments the faculty of self-efface-
