manifested by the composure and moderation of its style. Now at last his storm-tossed soul seems to have found a haven. He accepts his destiny, and resigns himself to believing, since knowledge is barred.
But even this state of serenity harbored no permanent peace; it signified merely a temporary suspension of those terrific internal combats.
In Strindberg's case, religious conversion is not an edifying, but on the contrary a morbid and saddening spectacle; it is equal to a declaration of complete spiritual bankruptcy. He turns to the church after finding all other pathways to God blocked. His type of Christianity does not hang together with the labors and struggles of his secular life. A break with his past can be denied to no man; least of all to a leader of men. Only, if he has deserted the old road, he should be able to lead in the new; he must have a new message if he sees fit to cancel the old. Strindberg, however, has nothing to offer at the end. He stands before us timorous and shrinking, the accuser of his fellows turned self-accuser, a beggar stretching forth empty, trembling hands imploring forgiveness of his sins and the salvation of his soul through gracious mediation. His moral asseverations
