himself, a more radiant and orderly world than the one which his eyes
look upon outwardly. It is this "inner vision" which permits him to
see the legend in the outer chaos, and we read in this book of his
efforts to disentangle the thread of this legend by the establishment
of a kind of Hellenic Utopia._

_It is not alone the poet who is capable of creating his legend, but
any one who refuses to be subject to the whims of fate and to serve
the goddess of chance and chaos, "the prodigal scatterer of episodes"
(Aisa). The tragic thing about this philosophy, as one Russian critic
points out, is that even the definite settling of the question does
not assure one complete consolation, for, like Ivan Karamazov in
Dostoyevsky's "Brothers Karamazov," one may say: "I do not accept God,
I do not accept the world created by Him, God's world; I simply return
Him the ticket most respectfully." Still it is with some such definite
decision that he enters the kingdom of Ananke, the goddess of
Necessity. Readers of "The Little Demon" have seen a practical
illustration of the two forces in Peredonov and Liudmilla. Peredonov
was petty and pitiful, "a little demon"--nevertheless he too "strove
towards the truth in common with all conscious life, and this striving
tormented him. He himself did not understand that he, like all men,
was striving towards the truth, and that was why he had that confused
unrest. He could not find his truth, and he became entangled, and was
perishing." Liudmilla, however, had saved herself from the pettiness
and provinciality of this "unclean, impotent earth" by creating a new
world for herself. She, at any rate, had her beautiful legend, knew
her truth.

Elisaveta, of "The Created Legend," also belongs to the Kingdom of
Ananke. She finds her salvation in "the dream of liberation," the