A further attempt to extend the boundaries of free discussion is made in the two dramas, "Leonarda" (1879) and "A Glove" (1883), which both deal with interesting phases of the woman question, and both wage war against conventional notions of right and wrong. The former elucidates the attitude of society toward the woman who has been compromised (whether justly or not), and the latter its attitude toward the man. I confess there is something a trifle hazy in his exposition of the problem in "Leonarda;" and I am unable to determine whether Leonarda really has anything to reproach herself with or not. In her conversation with the bishop in the second act, she appears to admit that she has much to regret. She begs him "help her atone for her past." She practically throws herself upon his mercy, reminding him that his Master, Christ, was the friend of sinners. But in the last act she appears suddenly with the halo of martyrdom. General Rosen, who has been the cause of her social ostracism, turns out to be her husband, whom she has divorced on account of his dissipated habits, and now keeps, in the hope of saving him, on a sort of probation. She believes that without her he would go straight to perdition, and from a sense of duty she tolerates him, not daring to shirk her responsibility for the old reprobate's soul. Truth to tell, she treats him like a naughty boy, punishing him, when he has been drunk, with a denial of favors; and when he has been good, rewarding him with her company. I suppose there are men who might be saved by such treatment, but I venture to doubt whether they are worth saving. As for Leonarda, she has apparently no cause for encouragement. But she perseveres, heedless of obloquy, as long as her own affections are disengaged. She presently falls in love, however, with a young man named Hagbart Tallhaug, who has insulted her and is now engaged to her niece, Agot. Hagbart is the nephew of the bishop of the diocese, who, after much persuasion is induced to receive Agot, on condition that her aunt will remove from the district and demand no recognition from the family. Having been informed of these conditions, Leonarda calls upon the bishop, uninvited, and vainly remonstrates with him. The young people are, however, unwilling to accept happiness on the terms offered by his reverence. At this point a new complication arises. Hagbart who had loved in Agot a kind of reflection of her aunt's character and manner, being now thrown into the company of the latter, discovers his mistake and transfers his affection to Leonarda. Exactly wherein the newness of Leonarda's type consists we are not fully informed, but we are led to infer that she represents a purer and truer humanity than the women bred in the traditions of feudalism, with their hypocritical arts and conventions. She is not meant to be seductive, but radiant, ravishing.