Much criticism has been made of Paul Hervieu, and all too frequently, it would seem, his drama has been labelled as thesis plays. Too often, such opinions are based upon little more than a familiarity with certain of his plays (Les Tenailles, La Loi de l'Homme, Le Réveil, etc. which, detached from his work as a whole and read without consideration of the author's fundamental concept of man as a social creature, do seem strongly to bear the imprint of social reform. However, to many, such classifications, even for the plays mentioned above, will appear entirely unwarranted when the plays are studied in the light of what one inevitably comes to feel—after studying the man and his whole work—are the author's essential and sincere beliefs concerning man and his behavior in society. Unlike some writers of his own period who professed a similar faith and who unquestionably were impelled primarily by the desire for social reform, Hervieu sincerely believes that man's own nature stands as an insurmountable barrier to reform. Such a conviction could never become a welcomed guest in the mind of one who so earnestly longed for a more optimistic view of life; and, in my opinion, it is this unwelcomed conviction that leads him at all times to emphasize the tragedies of life in a manner that to some has suggested reform. If we understand him, however, he is primarily concerned with the tragedy in each case; and he offers no suggestions or corrections, because reform is untenable in his belief.