dreams the narrative, for it is full of theology, history, and
traditions she could not possibly have conceived. The poem of _Mirèio_
and all Mistral's work suffer from this desire to work into his poetry
all the history, real and legendary, of his region.

The three Maries are Mary Magdalen, Mary, the mother of James and John,
and Mary, the mother of James the Less. After the Crucifixion they
embark with Saint Trophime, and successfully battling with the storms of
the sea, they land finally in Provence, and by a series of miracles
convert the people of Arles. This canto never would have converted
Boileau from his disapproval of the "merveilleux chrétien."

The poet finds his true inspiration again in the life of the Mas, in the
home-bringing of the crops, in the gathering of the workers about the
table of Mèste Ramoun. This picture of patriarchal life is like a bit
out of an ancient literature; we have a feeling of the archaic, of the
primitive, we are amid the first elements of human life, where none of
the complications of the modern man find a place. Mèste Ambroi, whom
Vincèn has finally persuaded with passionate entreaties to seek the hand
of Mirèio for him, comes upon this evening scene. The interview of the
two old men is like a Greek play; their wisdom and experience are
uttered in stately, sententious language, and many a proverb falls from
their lips. Ramoun has inflexible ideas as to parental authority: "A
father is a father, his will must be done. The herd that leads the
herdsman, sooner or later, is crunched in the jaws of the wolf. If a son
resisted his father in our day, the father would have slain him perhaps!
Therefore the families were strong, united, sound, resisting the storm
like a line of plane trees! Doubtless they had their quarrels, as we
know, but when Christmas night, beneath its starry tent, brought
together the head of the house and his descendants, before the blessed