to them: "We do not go where we would go. We do not do that which we would do." Perhaps, however, these beliefs are here enounced for the last time with the author's assent or acquiescence.
In artistic merit "Pélléas and Mélisande" marks a nearer approach to mastery, once the integral peculiarities of the form and method have been granted. Despite a noticeable lack of force, directness, and plasticity in the characterization, the vie intérieure is most convincingly expressed. In one of the finest scenes of the play we see the principals at night gazing out upon a measureless expanse of water dotted with scattered lights. The atmosphere is permeated with a reticent yearning of love. The two young creatures, gentle, shy, their souls tinged with melancholy, are drawn towards one another by an ineluctable mutual attraction. Yet, though their hearts are filled to overflowing, not a word of affection is uttered. Their love reveals itself to us even as to themselves, without a loud and jarring declaration, through its very speechlessness, as it were. The situation well bears out the roi sage in Alladine et Palomides: "There is a moment when souls touch one another and know everything without a need of our opening the lips." There are still
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