l, political and economic
surroundings, in our physical, mental and psychic capacities. (Did not
the fate of Cyrano de Bergerac lie in his gigantic nose?) With others,
fate lies in their vocation in life, in their mental and emotional
tendencies, which either submerge them into the hurry and rush of a
commonplace existence, or bring them into the most annoying conflicts
with the _dicta_ of society. Indeed, it is often seen that a human
being, apparently of a cheerful nature, but who has failed to establish
a durable relation with society, often leads a most tragic inner life.
Should he find the cause in his own inclinations, and suffer agonizing
reproaches therefrom, he becomes a misanthrope. If, however, he feels
inwardly robust and powerful, living truly, if he crave complete
assertion of a self that is being hampered by his surroundings at every
step, he must inevitably become a Revolutionist. And, again, his life
may become tragic in the struggle with our powerful institutions and
traditions, the leaden weight of which will, apparently, not let him
soar through space to ever greater heights. Apparently, because it
sometimes occurs that an individual rises above the average, and waves
his colors over the heads of the common herd. His life is that of the
storm bird, anxiously making for distant shores. The efforts of the
deepest, truest and freest spirits of our day tend toward the conscious
formation of life, toward that life which will make the blind raging of
the elements impossible; a life which will show man his sovereignity and
admit his right to direct his own world.

The old conception of the drama paid little or no attention to the
importance of the influences of social conditions. It was the individual
alone who had to carry the weight of all responsibility. But is not the
tragedy greater, the suffering of the individual increased, by
influences he cannot control, the existing social and moral conditions?
And is it not true that the very best and most beautiful in the human
breast cannot and will not bow down to the commands of the commonplace
and everyday conditions? Out of the anachronisms of society and its
relation to the individual grow the strongest motives of the modern
drama. Pure personal conflicts are no longer considered important enough
to bring about a dramatic climax. A play must contain the beating of the
waves, the deep breath of life; and its strong invigorating breeze can
never fail in brin