1911, and _Lady Julie_ in April, 1912. The Stage Society, which is the descendant of Mr. Grein's Independent Theatre, has played _Creditors_. The Stronger, an atmospheric sketch with two characters, of whom the one maintains silence, whilst the other uses her tongue, was acted by Madame Lydia Yavorskaia and Lady Tree in 1909. Of the remainder of the fifty-one plays by which he has encompassed many "schools" of playwriting, evolved new dramatic forms, and tested different methods of expression the British public knows little or nothing. * * * * * Naturalism has passed away. The shallow materialism, the false simplicity of presentation, with which it sought to kill romantic methods of dramaturgy, proved fatal. They were found to be as unreal as the old-fashioned conventions of the stage. But there were other qualities in the movement which have not died, but profoundly influenced the character-drawing and scenic development of the modern drama. Hauptmann, Hervieu, Wedekind, Schnitzler, Gorky, Tchekhov have transmuted and individualised the permanent elements of the early realism. As an exponent of naturalism Strindberg's personality towered high above the first noisy purveyors of what M. Jullien named "slices of life"--some distressingly indigestible. It is true that the fabric of his drama was woven out of the ever-recurring theme of sexual antagonism. He described it with the undertone of personal suffering--the suffering of experience and of pity--with which Tolstoy made his peasants articulate in _Powers of Darkness_, or Henry Becque the ill-used women in _Les Corbeaux_.