imperishable soul of humanity in its long and terrible endeavour to
bring the institutions and the ideas of men into harmony with a higher
order of life.

The tragic element has, therefore, many aspects,--sometimes lawless
and destructive, sometimes self-sacrificing and instructive; but its
illustration in literature in any form is not only profoundly
interesting, but profoundly instructive as well. In no other literary
form is the stuff of which life is made wrought into such commanding
figures; in no other form are the deeper possibilities of life brought
into such clear view; in no other form are the fundamental laws of
life disclosed in a light at once so searching and so beautiful in its
revealing power. If all the histories were lost and all the ethical
discussions forgotten, the moral quality of life and the tremendous
significance of character would find adequate illustration in the
great tragedies. They lay bare the very heart of man under all
historic conditions; they make us aware of the range of his
experiences; they uncover the depths by which he is surrounded. They
enable us to see, in lightning flashes, the undiscovered territory
which incloses the little island on which we live; they light up the
mysterious background of invisible forces against which we play our
parts and work out our destiny.

To the student of literature, who strives not only to enjoy but to
comprehend, tragedy brings all the materials for a deep and genuine
education. Instead of a philosophical or ethical statement of
principles, it offers living illustration of ethical law as revealed
in the greatest deeds and the most heroic experiences; it discloses
the secret of the age which created it,--for in no other literary form
are the fundamental conceptions of a period so deeply involved or so