Since the beginning of time men have been accustomed to regard the end of a century as a period of decadence. The waning nineteenth century is no more fortunate than its predecessors. We are continually being invited to speculate on the signs around us of decay in politics, in religion, in art, in the whole social fabric. It is not for us to inquire here concerning the truth or the ethics of that belief. But, as far as literature is concerned, it is very certain that the last years of the present century will be remembered for the extraordinary talent shown by a few young novelists and dramatists in most of the countries of Europe. In England, we can point to Mr. Rudyard Kipling and Mr. J. M. Barrie; in France, to M. Paul Margueritte and M. Marcel PrÉvost; in Belgium, to M. Maurice Maeterlinck; in Germany, to Gerhard Hauptmann, Ludwig Fulda, and Hermann Sudermann.

The events of Sudermann's life are few; and he has the good sense to prefer to be known through his works rather than through the medium of the professional interviewer. The facts here set down, however, we owe to the courtesy of Sudermann himself a circumstance that lends them an additional interest.

Hermann Sudermann was born September 30, 1857, in Matzicken, a poor village in Heydekrug, a district of East Prussia, situated on the Russian frontier. It is not unlikely that the following passage taken from one of his novels bears some resemblance to the place:--

"The estate that my father farmed was situated on a high hill close to the Prussian frontier; an uncultivated, wild park sloping gently towards the open fields formed one side of the hill, while the other sank steeply down to a little river. On the farther side of the stream you could see a dirty little Polish frontier village.

"Standing at the edge of the precipice you looked down on the ruinous shingle roofs; the smoke came up through the rifts in them. You looked right into the midst of the miserable life of the dirty streets where half naked children wallowed in the filthy where the women squatted idly on the threshold, and where the men in torn smocks, with spade on shoulder, betook themselves to the alehouses.

"There was nothing attractive about the town, and the rabble of frontier Cossacks, who galloped here and there on their catlike, drowsy nags, did not increase the charm."

Sudermann began his education at the school of Elbing. But his parents were in poor circumstances, and at the age of fourteen he found it necessary to think about earning a living, and was apprenticed to a chemist. He continued his studies in his leisure time with such good results that he returned to school, this time at Tilsit. In 1875 he went to the university of KÖnigsberg, and in 1877 to that of Berlin. His first intention was to become a teacher, and while still pursuing his studies undertook for a few months the duties of tutor in the house of the poet Hans Hopfen. But in 1881, after six years spent in studying history, philosophy, literature, and modern languages (Sudermann understands English perfectly), he turned to journalism, and edited the Deutsches Reichsblatt, a political weekly. He soon threw aside newspaper work for true literature, for what the Germans call belletristik, and he has become famous through his novels, short stories, and plays. He is good-looking, with a dark melancholy face that lights up with a most remarkable and expressive smile when he speaks; nothing could be more unaffected than his manner, nor more charming than his whole personality. As yet there is no Sudermann Society for the discussion of the author's works, but in Berlin, where he has many admiring friends, Sudermann occasionally reads to them his productions while they are yet unpublished. The little story called Iolanthe's Hochzeit was first heard in that way.

Although Sudermann's work is in all its aspects essentially modern, indeed all the conditions and problems of modern life have the highest interest for him, he belongs to no class, ranges himself with neither realists nor idealists, and bows to the yoke of no literary fashion. In common with all great artists, Sudermann paints his own age, but while portraying men and women as he knows them, in the nineteenth century, he gives them, at least in his novels and tales, the human nature that is the same through all time. He has lived in Berlin, and his dramas give us life in that city both among the proletariat and the rich middle class. He has lived in East Prussia, and there is laid the scene of his longer novels. He is familiar with other parts of Germany, with Italy, and with Paris, and everywhere he has used his gift of keen observation to good purpose. A certain melancholy, a feeling of the "inevitableness" of things, if we may be allowed the expression, runs through all his writings, and may perhaps be traced to the effect on his sensitive and high-strung nature of the East Prussian landscape, amid which he spent his boyhood. The meadow-flats and corn-lands, the meagre pine-woods, and dark, lonely pools of his native district, form the background of most of his tales. Numerous passages might be quoted which would serve to show the melancholy and loneliness of the landscape. As an example we may take:--

"Thick and heavy as if you could grasp them with your hands, the clouds spread over the flat land. Here and there the trunk of a willow stretched forth its rugged knots to the air, heavily laden with moisture. The tree was soaked with damp, and glistened with the drops that had hung in rows on the bare boughs. The wheels sank deep into the boggy road that ran between withered reeds and sedge.

* * * * *

"The moon stood high in the heavens and shed her calm, bluish light far over the sleeping heath. The clumps of alders on the moor bore wreaths of lights and from the slender silvery trunks of the birches which bordered the broad straight road in endless rows, came a sparkle and brightness that made the road seem as if lost far below in the silvery distance.

"Silence all around. The birds had long ceased singing. A stillness of the late summer time, the complacent stillness of departing life lay over the broad plain. You scarcely heard the sound of a cricket in the ditches, or a field-mouse disturbed in its slumbers, gliding through the tall grass with its low chipping whistle."

Such pictures constantly meet us in the pages of Sudermann's books; taken in connection with their setting, they are often of great force and beauty. Nothing, however, is obtruded; there is no searching after a dramatic background, or undue word-painting; everything is in keeping with and subordinate to the main interest of the tale.

With such surroundings, Sudermann cleverly assimilates his characters. They are mostly the victims of circumstances which they are more or less unable to overcome. In some cases the fault, as with Leo Sellenthin in Es war, Sudermann's latest novel, lies in the weakness or sinfulness of the man; in others, in surroundings and events for which the man is not himself directly responsible. Sometimes the noble unselfish love and devotion of a woman make a happier state of things possible; Sudermann is a firm believer in the power and influence of good women in human life. His women are not so sharply outlined as Ibsen's, but he recognises in the sex, though much more vaguely, like possibilities. For example, Leonore in Die Ehre sees the folly and emptiness of fashionable life and has the courage to give her hand where she loves, to a man who, by her set, would be considered far beneath her. Magda, in Heimat, refuses to desert her child. And his young girls are even more charming, more natural than those of Ibsen. Eager-hearted Dina Dorf, with her desire for a larger life in the world; hard-working Petra Stockman with her delight in her work and her unflinching truth and honesty; Bolette Wangel with her desire for knowledge, "to know something about everything" are, as everybody knows, among Ibsen's most delightful creations. In Es War Sudermann gives us as perfect and natural a study of a young girl as we have met with in fiction or the drama for a very long while. Hertha cherishes a secret love for a man much older than herself but has reason to fear that his affections are set on a married woman, the wife of his best friend. To Hertha's innocent and unworldly mind this is a great puzzle; to her the sacredness of love between husband and wife seems a matter of course.

"Certainly the beautiful woman was a thousand times lovelier than poor Hertha--and she was, moreover, much cleverer.... But could she--and therein lay the great puzzle, the invincible contradiction that knocked all suspicion on the head--could she as a married woman possibly be an object of love to a man other than her husband? Wives were loved by their husbands--that is why they are married and by no one else in the world."

But Hertha determines to take such means as are within her power of discovering if suck things are possible, if such things exist. She first consults her books--books, of course, suited to a young girl's library. She goes through her novels, but nothing in them points to the enormity. Then she turns to the classics, to Schiller!

"Amalie was a young girl--so was Luise--but then there was the queen of Spain! However, in that case it was clear as noonday how little poets deserved to be trusted, for that a man should fall in love with his stepmother could only take place in the world of imagination where genius, drawn away from the earth, intoxicated with inspiration, soars aloft. Not in vain had she, a year and a half before, written a school composition on 'Genius and Reality,' in which she had treated the question in a most exhaustive manner."

She next tries her friend Elly, a girl of her own age, but much more experienced in the ways of the world.

"'Listen, dear, I want to ask you a very important question. You're in love, aren't you?'

"'Yes'; replied Elly.

"'And you're sure the man's in love with you?'

"'Why do you say "man"?' asked Elly. 'Curt is my ideal. A little time ago it was Bruno--and before that it was Alfred--but now it's Curt, Yet he's not a man.'

"'What is he, then?'

"'He's a young man.'

"'Oh! that's it, is it? No, he's certainly not a man.' And Hertha's eyes shone: she knew what a 'man' looked like. 'Well, darling,' she went on, 'do you think that a "man," or a young man--it's all the same--could possibly love a married woman?'

"'Of course--naturally he would,' replied Elly, with perfect calmness.

"Hertha smiled indulgently at such want of intelligence.

"'No, no, little one,' she said. 'I don't mean his own wife, but a woman who is the wife of another?'

"'So do I! replied Elly.

"'And that seems to you quite a matter of course?'

"'My dear child, I didn't think you were so innocent! said Elly; 'everybody knows as much as that. And formerly it was even worse. A true knight always loved another man's wife: it was a great crime to love his own wife. He would cut off his right hand for the stranger's sake, and would die for her, pressing her blue favour to his lips; for you see at that time they always wore her blue favour. You'll find it in every history of literature.'

"Hertha became very thoughtful. 'Ah! in those days!' she said, with the ghost of a smile; 'in those days men went to tournaments and stabbed each other in sport with their lances.'

"'And to-day,' whispered Elly, 'men shoot each other dead with pistols.'

"Hertha felt as if she had been stabbed to the heart, and the little pink and white daughter of Eve continued, 'I think it must be quite delightful when one is married to know that some one is hopelessly in love with you. It's quite certain that most unhappy love affairs arise in that way.'

"The next day Hertha questioned her grandmother.

"'Grandmother, I'm grown up now, aren't I?'

"'Yes--so, so,' answered the old lady.

"'And probably I shall soon be married.'

"'You!' shouted her grandmother, in deadly terror. Doubtless the wretched child had come to confide in her the addresses of some booby of a neighbour.

"'Yes.' continued Hertha, inarticulately and with great hesitation; 'with my big fortune I am not likely to be an old maid.'

"'Child!' exclaimed the old lady, 'of whom are you thinking?'

"Hertha blushed to her neck. 'I?' she stammered, trying to preserve an indifferent tone of voice, 'of nobody.'

"'Oh, then you were merely talking generally?'

"'Of course; I only meant generally'

"'Well, and what do you want to know?'

"'I want to know--how it is with--you understand--with love when one----'

"'When one----'

"'Well, when one is married?'

"'Then you go on loving just as you did before.' replied her grandmother, lightly.

"'Yes, I know that. But suppose you love another man to whom you aren't married?'

"'Wha--t!' In her terror the old lady let her spectacles fall off her nose. 'What other?'

"Hertha suddenly felt as if she must collapse. She had to summon all her courage and pull herself together in order to go on.

"'Can't it happen, grandmother dear, that some one to whom you're not married takes it into his head----'

"'My dear child' replied the grandmother, 'never come to me with such foolish questions. You cannot understand such things. Now give me a kiss and get your knitting.'"

So that plan did not answer. There was still one further possibility of discovery. Hertha had a school friend who had lately got married. She would ask her. So she began:--

"'Wives love their husbands, that goes without saying. But do you think it possible that wives can be loved by other men?'

"'How odd you are', replied Meta. 'You can't prevent people loving.'

"'I know that. But a man, don't you see, who would----'

"'Well, that sort of thing does happen.'

"'What! is some one in love with you?'

"Meta blushed, 'I don't bother about it. It's quite enough that Hans loves me, and of course I should very politely forbid anything of the sort.'

"'Then people do forbid such things?'

"'Certainly, if they're told of it.'

"'What! you might be told?'

"'Sometimes, if the man who is in love with you is very bold.'

"'Good gracious,' said Hertha, shocked, 'If anyone behaved like that to me, I should box his ears.' But in great anxiety she continued, 'Do you think it likely that there are women who have a different opinion?'

"'Oh, yes!' said Meta.

"'Who--in the end--return the bold mans love?'

"'Even so.'"

Then Meta repeats certain gossip that confirms Hertha's worst fears. The whole chapter should be read in order to appreciate rightly the charm and pathos and naturalness of the delightful piece of character drawing.

Like Ibsen and Zola, Sudermann does not hesitate to set the truth before us even when it is terrible or brutal or revolting. But he differs from them in having a less gloomy outlook, in firmly believing that, at the same time as human nature is coarse and brutal, stupid and violent, it is loving, capable of sacrifice and of deep feeling. He sees the strange not to say the inexplicable mixture of good and evil in all things human, and knows man to be neither all gold nor all alloy. This we take it is the true realism.

To make Sudermann's point of view clear to English readers there is perhaps no better nor more direct way than to give a brief account of his works. They are three novels, Frau Sorge (Dame Care), published in 1886, Der Katzensteg (the name of a small wooden bridge over a waterfall that plays a prominent part in the story), 1888, Es war (It Was), 1893; three volumes of short tales, Geschwister (Brothers and Sisters), first published in the Berliner Tageblatt in 1884 and 1886 respectively (one of the stories, Der Wunsch, appears in the present volume), Im Zwielicht (In the Twilight), novelettes written in various newspapers, and Iolanthe's Hochzeit (Iolanthe's Wedding), 1892; and three dramas, Die Ehre (Honour), Sodom's Ende (The Destruction of Sodom), and Heimat (The Paternal Hearth).

The most perfectly artistic of his longer novels, and that most deeply impregnated with the peculiar characteristics of East Prussian landscape is Frau Sorge. Paul, the hero, is born just at the moment when his father's difficulties make it necessary for him to sell his house and land: this gloomy circumstance overshadows the whole of Paul's life. While his brothers and sisters in spite of the family poverty are, in their careless, unthinking way, happy and even prosperous, wilfully blind to the fact that they owe all to the industry and continual self-sacrifice of Paul, his life is one long toil and struggle, one long fidelity to duty as he conceives it, one long effacement and suppression of self. For this he receives no thanks, no acknowledgment. His spirit becomes crushed, almost extinguished. After long years of toiling, struggling, and suffering, he is redeemed through the love of a woman, but only when he has sacrificed to "Dame Care" all he held most precious, and when the capacity in him for joy and hope has been well-nigh destroyed. The character portrayed with perfect art is, at the same time, faithful to nature: such men are rare, perhaps, but it is well that the novelist should remind us of their existence, and thus help us to recognise the potency for good that dwells in mankind.

Der Katzensteg is more powerful but less artistic than Frau Sorge. The German critics, however, consider it to be not only the most important of Sudermann's writings, but the finest novel produced in Germany during this century. The character of the heroine, Regine, a veritable child of nature, in whom savagery and lack of intelligence and education exist side by side with the nobility and power of sacrifice, of which nature in the rough is often capable, forms the main interest of the tale, and is a marvellous and original conception. There is one scene that for realism, intensity, and horror has scarcely been surpassed in any novel of modern times.

Before turning to the short tales in which we find some of Sudermann's best and most characteristic work, it would be well to point out one of his chief titles to genius. He has the gift of being able to describe terrible and heart-stirring scenes, joyful or pathetic or humorous scenes, with the utmost simplicity of style. In a few words of the simplest sort he brings before our eyes living pictures. Each sentence palpitates with life. As we read, we seem to live with the men and women of his creation through their agony; we suffer as they do, and rejoice with them when they are glad: at times we are breathless as they are with suspense and excitement. And this is done without any of the analytical introspection with which we have become only too familiar in recent novels. The characters, at least in the novels and tales, are not mere nervous organisms, but livings loving, erring, feeling, human beings. The gift of terse narration joined to great simplicity of language is found in French writers like Flaubert and Maupassant, but it is new to Germany. It is, then, perhaps, Sudermann's highest praise that we can say of him that he possesses the strength without the unpleasantness of the great French writers of our day, and combines their artistic feeling, their power and their fine wit with all that is soundest and best in the Teutonic mind and character.

Many of the short tales are of a less specially German cast, and possess an interest that is universal. Der Wunsch (The Wish), for instance, is a powerful psychological study, set forth with wonderful directness and simplicity. Although the tale deals with the old theme of a woman who falls in love with her sister's husband, it is instinct with passion and original in treatment. Olga loved her sister Martha dearly, and had, indeed, brought about Martha's marriage with Robert Hellinger almost by her own efforts, but in so doing had herself, though unconsciously, fallen in love with Robert. Martha, always frail and delicate, after the birth of her child, falls dangerously ill. Olga goes to her to nurse her, and love for her sick sister and passion for Robert struggle for mastery in her soul. Thus, into a character entirely good, noble, and self-sacrificing, steals the wish, "if only she were to die!" In the event Martha does die. Then Robert's eyes are opened; he knows that he loves--has all along loved Olga, and he asks her to be his wife. At first she refuses, then consents; but the same night, having felt all the while that the wish for Martha's death, though never expressed by sign or word, makes her in a sense her sister's murderer, she puts an end to her life. She herself relates all the circumstances in a document written to explain her act to her old friend the physician. A couple of quotations will give a better idea of Sudermann's style than pages of criticism. In a few marvellous strokes he paints the effect on Robert of his first sight of Olga's corpse:--

"When the elder Hellinger entered the room he saw a picture that froze the blood in his veins.

"His son's body lay stretched on the floor. In falling he must have clung to the posts of the bier on which they had placed the dead woman, thus bringing down the whole erection with him, for on top of him--among the broken boards--lay the corpse in its long white shroud, the stiffened face on his face, the bare arms thrown over his head."

The scenes in Martha's sick room are portrayed with an art that makes them live in our memory. Here is one of them, Martha lies in bed sick unto death. Olga and Robert, wearied out with sleepless nights and with their terrible anxiety, are watching her.

"There was absolute silence in the half-darkened room; only the wind with gentle rustling, swept past the window, and the mice scratched among the rafters of the ceiling.

"Robert buried his face in his hands and listened to Martha's dismal ravings. Gradually he seemed to grow calmer; his breathing became slower and more regular; now and again his head inclined to one side, but the next moment he drew it up again.

"Sleep overpowered him, I wanted to persuade him to go to bed but I was feared at the sound of my own voice and kept silent.

"The upper part of his body leaned over more and more frequently to one side; at times his hair touched my cheek, and groping he sought a support.

"And then suddenly his head sank down on my shoulder and remained there.

"My body trembled as if an incredible happiness had befallen me, I was seized with an irresistible desire to stroke the bushy hair that fell over my face. Close to my eyes I saw a few silver threads. 'He is beginning to get grey,' I thought, 'it is high time that he should know what happiness means,' and then I actually stroked his hair.

"He sighed in his sleep and tried to place his head more comfortably.

"'He is lying uncomfortably,' I said to myself 'you must get close to him.' I did so. His shoulder lay against mine, and his head sank down on my bosom.

"'You must put your arm round him,' something within me cried out, 'otherwise he cannot find rest!

"Twice, thrice, I tried to do so, but as often drew back.

"If Martha should suddenly wake! But her eyes saw nothing, her ears heard nothing.

"And I did it.

"Then a wild joy took possession of me, and stealthily I pressed him to me; something within me shouted joyously: 'Oh! how I would cherish and protect you; how I would kiss away the furrows misery has made in your brow, and the cares from your soul! How I would toil for you with all my young strength, and never rest till your eyes were fill of gladness, and your heart of sunshine. But to do that----'

"I glanced over at Martha. Yes, she lived, still lived. Her bosom rose and sank in short, quick sobs. She seemed more alive than ever.

"And suddenly there flamed before me, and it was as if I read written clearly on the wall the words:

"'If only she were to die!'

"'Yes, that was it, that was it. Oh! if only she were to die! Oh! if only she were to die!'"

We have only to read Jean Ricard's Soe urs, a novel lately published in Paris, and dealing with the same theme, to recognise how very far superior is Sudermann's treatment of it.

The volume of short tales entitled Im Zwielicht is of a somewhat different character. Though coloured to some extent by the melancholy and "inevitableness" of the longer novels, those qualities are less intense, and we have lively touches of satire and brilliant flashes of wit that remind us of the sprightliness of French writers. The tales are told in the twilight by one or other of two friends, a man and a woman, between whom there exists merely an intellectual bond of sympathy and union. The stories laugh good-naturedly at narrow-mindedness and silly prejudice, an evil that Sudermann wisely recognises as existing everywhere, in the big city as in the small village. Women's social aspirations, their immense delight in entertaining celebrities, and their belief that in so doing they are moving in the stream of the world's history, are satirised with keenness and truth. He strikes a deeper note in the tale that sets forth the difficulties of friendship and love between a woman of mature years and a young man, a subject ably treated by Jean Richepin in his fine novel, Madame AndrÉ, and it is very interesting to note the coincidence of view of the French and German writer. Perhaps Sudermann's views may help towards a satisfactory solution of that ever-recurring will-o'-the-wisp--platonic affection. His heroine declares that to turn friendship into love, or love into friendship, is impossible, because where such a transformation does take place, there must, in the first instance, have been either not friendship or not love. "From the day on which we reap love where we sowed friendship, the magic charm would be broken," she says, "Till then I was all and everything--then I should be merely one more." And again, "Love begins in the intoxication of the senses, and ends in the peace of calm friendship, that is marriage; the contrary is not forbidden, but it leads--to the desert."

In Iolanthe's Hochzeit, Sudermann proves himself the possessor of the humour that borders on pathos. The little story has no tendency, it preaches no sermon, Onkel Hanckel, "a good fellow (ein guter Kerl) by profession," relates how he had to live up to the title, and how, at the mature age of forty-seven, he became, almost against his will, engaged to a young girl. His feelings at the wedding ceremony, his horror and shyness at the notion of being left alone with his bride afterwards, form a most delightful piece of comedy. PÜtz, a surly, grasping, miserly, rich old man; Lothar, a dashing young lieutenant of dragoons; the maiden sister; and Iolanthe herself--are portrayed with a quaint humour of which the earlier works gave little indication, while the vigour, simplicity, and directness of the narrative are as fine as ever. The East Prussian dialect lends the original a local colour that would be difficult to reproduce in a translation.

In his dramas Sudermann treats life very much from the same standpoint as Ibsen does. His characters talk a great deal, and do next to nothing. He wages war against shams, thinks people should live out their own lives and develop their individuality at all hazards. He presents abnormal types, men and women who would be abnormal anywhere, in civilised society or the reverse, and who must not be taken as representative of modern life. Each of the three dramas he has as yet given us presents a moral problem to the consideration of the spectators.

Die Ehre was first performed at the Lessing Theatre in Berlin, on November 27, 1889, and had an immense success. The dramatist ruthlessly and boldly draws aside the curtain from the false ideas of honour held by high and low alike, not only by the middle class and proletariat of Berlin, but by civilised men in general: such social conventions, according to Sudermann, tend to make money-getting the sole aim of the citizen, and help to undermine the peace and happiness of family life. The revelation is undoubtedly unpleasing, but all the same a great truth underlies it, and in the end of the play the virtuous are not sacrificed to the wicked. In the speeches of Count Trast, the good angel, the god from the machine of the drama, it is not perhaps altogether fanciful to see the beliefs and opinions of Sudermann himself. Trast's conclusion is that we shall do better to substitute duty for the many and varied sorts of honour recognised by society.

Sodom's Ende is a startling play. Even the Berlin censorship required alterations before it could permit the production of the drama on the stage of the Lessing Theatre. It still contains one scene that would effectually prevent its performance in an English playhouse. The drama takes its name from the title of a picture painted by Willy Janowski, who bids fair to become a great artist. But he has fallen under the influence of Adah Barcinowski, a cold, heartless, pleasure-loving woman, the wife of a wealthy stockbroker. That connection and his own weak nature have ruined Willy mentally, morally, and physically. He ceases to work, leads a life of self-indulgence, heedless of the hurt he does to others. The character, unpleasing as it is, is consistently drawn by the dramatist, for even in the pangs of death Willy does not cease to note the artistic pose taken by the dead body of the girl he has injured and betrayed. Never, perhaps, has the worst side of that section of frivolous idle society we are accustomed to call "smart" been more ably painted: its foolish vapidity, its utter futility, and its elegant wickedness and sinfulness, are boldly displayed. Unfortunately men and women without conscience, without comprehension of duty, have always existed and still exist, but we doubt if their evil influence is as far-reaching and all-important as latter-day novelists and dramatists would have us believe.

In his latest play, Heimat, produced January 7, 1893, Sudermann takes for theme the duty owed by the child to the parent, and that due from parent to child. A high-spirited and talented girl, daughter of commonplace, conventional parents, to the scandal of all concerned, leaves her home to carve for herself a career in the world, and by reason of her fine voice becomes a celebrated singer. After an absence of many years chance brings her professionally to her native town, and a very natural desire is awakened in her to revisit her parents and her home. Her father, whose health had been destroyed through the effects of her former disobedience, wishes her to come back provided she renounces for ever the life she has been leading. This she has no desire to do, but for her father's sake she is not all unwilling to yield. When, however, she is further required to break with certain ties very dear to her, she refuses, and the father dies from the shock. Now when we carefully read the play, or see it acted by competent artists, it is clear that much might be said on both sides. But as there is nothing in the world more beautiful and holy than the tie that binds parent and child, so is the contemplation of conflict between them always unlovely. We grant that in the storm and stress of modern life such conflict is at times unavoidable, but it is scarcely the stuff of which works of art should be formed.

A new play, a comedy, Schmetterling-Schlacht (Butterfly Battle), is to be produced shortly at the Hofburg Theatre in Vienna. Again a moral problem is to be presented to the consideration of the public. The three heroines, honest working girls, paint butterflies on fans for a living. Two of the girls, tired of being sweated, give up fan painting; they take to painting their faces instead, and practice other abominations. The third girl continues her work, and remains virtuous. The play chiefly consists of a series of discussions between the girls as to which way of life is preferable.

Like his contemporaries, Ibsen and BjÖrnson, Zola and Tolstoi, Sudermann would transfer the sermon from the pulpit to the stage: he sets before us certain phases of life that have come under his notice in all their ugliness and brutality, and would have us forthwith leave the theatre sworn enemies of the evils he denounces. But his characters are contented to preach and discuss, they never feel that they are called upon to act. Thus they lack life and reality, we have little sympathy with them, and are never profoundly touched.

As a writer of fiction, however, Sudermann's high position is unassailable. He ranks with the great masters in all countries who have sought, and are still seeking, to set before us modern life in its manifold aspects, in its complexity and its difficulties, but who, unlike the more pronounced school of naturalists, remember Joubert's maxim that "fiction has no business to exist unless it is more beautiful than reality."

August, 1894.

THE WISH.