The thesis has since been fully developed in Paul Hervieu's _Le Dédale_. Here the dissonance of divorce and re-marriage resounds through a highly artistic presentment of the conflict between religion, morality, affection and "nature." Marianne de Pogis has left Max, her husband, because of his infidelities. She re-marries and finds in Le Breuil, her second husband, the virtues which her former husband lacked. Her child by the first marriage falls ill, and she meets her first husband by its bedside. She remains in his house to nurse the child, and succumbs to the old love which has never died. The end is tragic. She cannot go back to Le Breuil. Hervieu cuts short the agony of three souls by the death of the two men. Le Breuil kills Max and himself; together they go over the rock into the foaming waters where human passion is extinguished. Strindberg also summons death as the only solution of Adolf's martyrdom, but, with characteristic sense of the hideous interminableness of life's complexities, leaves Tekla and Gustaf to loathe the tie which they cannot break. Gustaf is the strong man who, knowing woman, despises her and masters her. Adolf is the woman-worshipper, the slave who has sold his masculine birthright for worthless favours. He is killed by disillusionment. The production of _The Father, Lady Julie,_ and _Creditors_ at the Théâtre Libre was followed by their performance at the Théâtre de l'Œuvre in Paris, another experimental theatre which was founded in 1893 by M. Lugné-Poë. _Lady Julie_ was part of the early repertory of the Freie Bühne, an advanced playhouse which had been established in Berlin in 1889 to meet the demand for realism on the stage. _The Father_ and _Creditors_ were performed in Copenhagen in 1889, and the latter play was soon presented at the Residenz Theater in Berlin. The Independent Theatre in London, founded by Mr. J.T. Grein in 1891, introduced Ibsenism to England, and suffered the penalty of the pioneer. Strindbergism might have wrecked the undertaking before the work was accomplished. Mr. Grein's services to the British playgoer have not yet been fully appreciated. He broke one or two windows in the suffocating theatre of banalities and bon-bon amours. Thanks to his courage we can now enjoy an increased amount of oxygen. But the West-End stage still thrives on airlessness. The popular long-run play, in which the charming actress appears as mannequin for the best costumier, whilst social inanities are paraded as absorbing problems--with a happy ending--contracts the lungs of all who in the drama seek a mirror and a criticism of life. To find modern dramatic art they must perforce go to the sporadic centres of unconventional and non-commercial performances, or to the semi-private stages of societies which fight the prevalent stagnation by bold experimental presentation of new dramatic ideas. Strindberg's plays are practically unknown in England. The Adelphi Players produced _The Father_ in July,