INTRODUCTION
Needless to say that this Devil is not the evil spirit of mediaeval dogma. The Romantic Devil is an altogether new species of the genus diaboli. There are fashions in Devils as in dresses, and what is a Devil in one country or one century may not pass muster in another. It is related that after the glory of Greece had departed, a mariner, voyaging along her coast by night, heard from the woods the cry: "Great Pan is dead!" But Pan was not dead; he had fallen asleep to awake again as Satan. In like manner, when the eighteenth century believed Satan to be dead, he was, as a matter of fact, only recuperating his energies for a fresh start in a new form. His new avatar was Prometheus. Satan continued to be the enemy of God, but he was no longer the enemy of man. Instead of a demon of darkness he became a god of grace. This champion of celestial combat was not actuated by hatred and envy of man, as Christianity was thought to teach us, but by love and pity for humankind. The strongest expression of this idea of the Devil in modern literature has been given by August Strindberg, whose Lucifer is a compound of Prometheus, Apollo and Christ. However, this interpretation of the Devil, whatever value it may have from the point of view of originality, is aesthetically as well as theologically not acceptable. Such a revaluation of an old value offends our intellect while it touches our heart. All successful treatment of the Devil in literature and art must be made to correspond with the norm of popular belief. In art we are all orthodox, whatever our views may be in religion. This new conception of Satan will be found chiefly in poetry, while the popular con-
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