And what of Hauptmann, perhaps the greatest and most important figure in dramatic literature of this and the last generation? After a brief record of the facts in Hauptmann’s life we read: “Of Hauptmann’s subsequent work mention may be made of”—and then the names of a few of his plays are set down. In the phrase, “mention may be made of,” is summed up the critic’s narrow viewpoint. And in that list it was thought unnecessary to mention _Schluck und Jau_, _Michael Kramer_, _Der Arme Heinrich_, _Elga_, _Die Jungfern vom Bischofsberg_, _Kaiser Karls Geisel_, and _Griselda_! Since all of these appeared in ample time to be included, it would, I believe, have occurred to an unprejudiced critic that mention _might_ have been made of them. In fact, all the circumstantial evidence points to the supposition that had Hauptmann been an Englishman, not only would they have been mentioned, but they would have been praised as well. As it is, there is no criticism of Hauptmann’s work and no indication of his greatness, despite the fact that he is almost universally conceded to be a more important figure than any of the modern English playwrights who are given greater space and favorably criticised. With such insufficient and glaringly prejudiced treatment of giants like Sudermann and Hauptmann, it is not at all surprising that not one other figure in German and Austrian recent dramatic literature should have a biography. For instance, there is no biography of Schnitzler, Arno Holz, Max Halbe, Ludwig Fulda, O. E. Hartleben, Max Dreyer, Ernst Hardt, Hirschfeld, Ernst Rosmer, Karl Schönherr, Hermann Bahr, Thoma, Beer-Hoffmann, Johannes Schlaf, or Wedekind! Although every one of these names should be included in some informative manner in an encyclopædia as large as the _Britannica_, and one which makes so lavish a claim for its educational completeness, the omission of several of them may be excused on the grounds that, in the haste of the Encyclopædia’s editors to commercialize their cultural wares, they did not have sufficient time to take cognizance of the more recent of these dramatists. Since the editors have overlooked men like Galsworthy from their own country, we can at least acquit them of the charge of snobbish patriotism in several of the present instances of wanton oversight.