College Crampton (1892), Der Biberpelz (1893), Hannele (1893), Florian Geyer (1896), Die Versunkene Glocke (1897), Fuhrmann Henschel(1898), Schluck und Jau (1900), Michael Kramer (1900), Der rote Hahn (1901), Der Arme Heinrich (1902), Rose Bernd (1903), complete the list thus far of this fecund and remarkable man. He has felt his way through naturalistic drama to comedy, and in the latter without much success; and from comedy to historical drama, with no success at all; indeed, Florian Geyer was a failure, though in its amended version as given last October 22, in Berlin, at the Lessing Theatre, it won approval, critical and popular. The poet has written a new five-act comedy for the same theatre, which he calls The Merry Maiden of Bishopsberg. The Beaver-Coat and The Red Cock--the symbol of fire--are folk-plays, the comedy rather grim, the sense of actuality strong. The first is a "thieves' comedy" and the fooling is heavy enough in both pieces; the latter is a continuation. German officialism is parodied. Schluck und Jau was also a failure. Written partially in prose and verse, it recalls Calderon, Grillparzer, Shakespeare's prologue to The Taming of the Shrew, and Hauptmann himself. Although Fuhrmann Henschel followed Hannele and The Sunken Bell, we prefer to speak of it and several other plays before those two masterpieces. Wagoner Henschel was a surprise and a deep disappointment to many of Hauptmann's admirers. He seemed to return to the most sordid of topics, yet it contains passages of spiritual beauty; while as a whole the note it sounds is a supernatural one, despite the vileness of its surroundings. The psychologic depiction of Henschel's downfall is masterly. He is a stolid teamster whose first wife in her death-bed makes him promise not to marry the servant girl, Hanna Scholl. But he does, for some one must look after his daughter. The moral _dégringolade_ begins. The woman is a vicious slattern. She is unfaithful. Things go badly. Henschel comes to believe that his first wife haunts him, and kills himself. It is very morbid, but it fits in the Hauptmann scheme, as Professor J. F. Coar in his Studies in German Literature shows: "Hannele contrasted spiritual consciousness with moral consciousness. And Henry in The Sunken Bell fails because he attempts what his creator, Hauptmann, attempted in Hannele. How, then, shall a poet find his quest rewarded? Only by seeking the spiritual mirrored in the moral. Hauptmann is far from having such a vision in Teamster Henschel; still he is to be credited with the effort to obtain it. Again, he could only see the misery of life.... In constantly narrowing circles the thoughts of Henschel turn about the one tense feeling of wrong committed when he married again in violation of his promise. The infidelity of the second wife appears to him like the judgment of God.... At night the figure of his dead wife lies down with him.... There is no trace of dialectical reasoning