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Immanent justice is another mysterious and sovereign force, whereof use has been made; but it is only the feeblest of writers who have ventured to accept this postulate in its entirety: only those to whom reality and probability were matters of smallest moment. The affirmation that wickedness is necessarily and visibly punished in this life, and virtue as necessarily and visibly rewarded, is too manifestly opposed to the most elementary daily experience, too wildly inconsistent a dream, for the true poet ever to accept it as the basis of his drama. And, on the other hand, if we refer to a future life the bestowal of reward and punishment, we are merely entering by another gate the region of divine justice. For, indeed, unless immanent justice be infallible, permanent, unvarying, and inevitable, it becomes no more than a curious, well-meaning caprice of fate; and from that moment it no longer is justice, or even fate: it shrinks into merest chance–in other words, almost into nothingness.

There is, it is true, a very real immanent justice; I refer to the force which enacts that the vicious, malevolent, cruel, disloyal man shall be morally less happy than he who is honest and good, affectionate, gentle, and just. But here it is inward justice whose workings we see; a very human, natural, comprehensible force, the study of whose cause and effect must of necessity lead to psychological drama, where there no longer is need of the vast and mysterious background which lent its solemn and awful perspective to the events of history and legend. But is it legitimate deliberately to misconceive the unknown that governs our life in order that we may reconstruct this mysterious background?

While on this subject of dominant and mysterious ideas, we shall do well to consider the forms that the idea of fatality has taken, and for ever is taking: for fatality even to-day still provides the supreme explanation for all that we cannot explain; and it is to fatality still that the thoughts of the “interpreter of life” unceasingly turn.

The poets have endeavoured to transform it, to make it attractive, to restore its youth. They have contrived, in their works, a hundred new and winding canals through which they may introduce the icy waters of the great and desolate river whose banks have been gradually shunned by the dwellings of men. And of those most successful in making us share the illusion that they were conferring a solemn, definitive meaning on life, there are few who have not instinctively recognised the sovereign importance conferred on the actions of men by the irresponsible power of an ever august and unerring destiny. Fatality would seem to be the pre-eminent tragical force; it no sooner appears in a drama than it does of itself three-fourths of all that needs doing. It may safely be said that the poet who could find to-day, in material science, in the unknown that surrounds us, or in his own heart, the equivalent for ancient fatality–a force, that is, of equally irresistible predestination, a force as universally admitted–would infallibly produce a masterpiece. It is true, however, that he would have, at the same time, to solve the mighty enigma for whose word we are all of us seeking, so that this supposition is not likely to be realised very soon.

This is the source, then, whence the lustral water is drawn with which the poets have purified the cruellest of tragedies. There is an instinct in man that worships fatality, and he is apt to regard whatever pertains thereto as incontestable, solemn, and beautiful. His cry is for freedom; but circumstances arise when he rather would tell himself that he is not free. The unbending, malignant goddess is more acceptable often than the divinity who only asks for an effort that shall avert disaster. All things notwithstanding, it pleases us still to be ruled by a power that nothing can turn from its purpose; and whatever our mental dignity may lose by such a belief is gained by a kind of sentimental vanity in us, which complacently dwells on the measureless force that for ever keeps watch on our plans, and confers on our simplest action a mysterious, eternal significance. Fatality, briefly, explains and excuses all things, by relegating to a sufficient distance in the invisible or the unintelligible all that it would be hard to explain, and more difficult still to excuse.