produced in Berlin in May 1887, in Vienna not till May 1893. There are few of the leading German theatres where it has not been acted, and has not taken a more or less prominent place in the repertory. In Germany indeed (though not elsewhere) it seems to rank among Ibsen's most popular works. In London Rosmersholm was first acted at the Vaudeville Theatre on February 23, 1891, Mr. F. R. Benson playing Rosmer, and Miss Florence Farr, Rebecca. Four performances of it were given at the Opera Comique in 1893, with Mr. Lewis Waller as Rosmer, and Miss Elizabeth Robins as Rebecca. In 1892, a writer who adopted the pseudonym of "Austin Fryers" produced, at the Globe Theatre, a play called Beata, which purported to be a "prologue" to Rosmersholm—the drama which Ibsen (perversely in Mr. Fryers' judgment) chose to narrate instead of exhibiting it in action. Not until 1893 was Rosmersholm produced in Paris, by the company entitled "L'Œuvre," under the direction of M. Lugnê Poé. This company afterwards acted it in London and in many other cities—among the rest in Christiania. In Italy, Eleonora Duse has recently added the play to her repertory, with scenery designed by Mr. Gordon Craig. I have no record of any American production.
With Rosmersholm we reach the end of the series of social dramas which began seventeen years earlier with The League of Youth. In all these plays the individual is treated, more or less explicitly, as a social unit, a member of a class, an example of some collective characteristic, or a victim of some collective superstition, injustice or stupidity. The plays which follow, on the other hand, beginning with The Lady from the Sea, are plays of pure psychology. There are, no doubt, many women like Ellida Wangel or
