Margit is a five-act drama, with the sub-title La Femme du Chevalier Bengt. It is a historical play of the times of the Reformation, and it is modern in its glacial analysis of the feminine soul. The picture is more various than is the case with the eternal monologue or dialogues of his shorter pieces--and there is humour of a deadly kind. In Das Geheimnis der Gilde (1879-80) the theme of Ibsen's The Master Builder was anticipated. To enumerate the works of Strindberg would consume columns; Herr Schering of Berlin has literally devoted his life to the task of translating them. Already there are forty volumes of plays, tales, novels, essays, monographs, poems, fables. Even in these times of piping versatility, the many-sided activities of the Swede amaze. His Nach Damaskus reveals a tendency to drift Rome-ward, to that Roman church, the sanctuary for souls weary of the conflict. There is no denying the fact that Strindberg's later productions show a cooler head, steadier nerves, though the motives are usually madness or blood guilt. The latest volume at the time of writing is devoted to three plays,--Die Kronbraut, Schwanenweiss, Ein Traumspiel. Two of these are powerful and painful. The playwright paints the peasantry of his country with the sombre brush of Hauptmann. Ein Traumspiel is that wonderful thing, a real dream put before us with all the wild irrelevancies of a dream, yet with sober and convincing art. As a stage piece it would be superbly fantastic. Strindberg has a faculty, which he shares in common with E. T. W. Hoffmann and Edgar Poe, of catching the ghosts of his brain at their wildest and pinning them down on paper. In such moods he may be truly called a seer. Swedenborg alone equals him in the veracity and intensity of his visions. These later plays were admittedly composed during the few happy years with his third wife, Fru Strindberg-Bosse. Edwin Bjorkman, who has written with authority of his fellow-countryman, declares that "the motives that move Strindberg are moral." "One of his favourite doctrines," continues Mr. Bjorkman, "is that social and individual purity is the only solid foundation for physical and mental health, as well as an indispensable condition of true achievement. He speaks somewhere of an artist 'who was yearning for the summit of ambition without being willing to pay the price required of those who are to reach it.'" And then he adds, "The only choice left us by life is between the laurel and our pleasure." Further he quotes the dramatist, "I let my self be carried away by the heat of the battle [over the woman's emancipation movement, of which he was at that time the only prominent literary antagonist in the Scandinavian countries], and I went so far beyond the limits of propriety that my countrymen feared I had become insane."