the model financier. He certainly possessed a remarkable aptitude for affairs, and we learn that his speculations were at once daring and crafty. People who are weary of commiserating the poverty of poets may be pleased to learn that when Ibsen died he was one of the wealthiest private citizens of Christiania, and this was wholly in consequence of the care he had taken in protecting his copyrights and administering his receipts. If the melancholy couplet is correct which tells us that
Mais sa bonté s’arréte à la littérature,
we must believe, with Ibsen’s enemies, that his fortunes were not under the divine protection. The actual numbers of each of his works printed since he first published with Hegel in Copenhagen—a connection which he preserved without a breach until the end—have been stated since his death. They contain some points of interest. After 1876 Hegel ventured on large editions of each new play, but they went off at first slowly. The Lady from the Sea was the earliest to appear, at once, in an issue of 10,000 copies, which was soon exhausted. So great, however, had the public interest in Ibsen become in 1894 that the edition of 10,000 copies of Little Eyolf was found quite
