The notion that there are ideas in the “drama of ideas,” in truth, is confined to a special class of illuminati, whose chief visible character is their capacity for ingesting nonsense—Maeterlinckians, uplifters, women’s clubbers, believers in all the sure cures for all the sorrows of the world. To-day the Drama League carries on the tradition. It is composed of the eternally young—unsuccessful dramatists who yet live in hope, young college professors, psychopathic old maids, middle-aged ladies of an incurable jejuneness, the innumerable caravan of the ingenuous and sentimental. Out of the same intellectual _Landsturm_ comes the following of Bergson, the parlor metaphysician; and of the third-rate novelists praised by the newspapers; and of such composers as Wolf-Ferrari and Massenet. These are the fair ones, male and female, who were ecstatically shocked by the platitudes of “Damaged Goods,” and who regard Augustus Thomas as a great dramatist, and what is more, as a great thinker. Their hero, during a season or two, was the Swedish John the Baptist, August Strindberg—a lunatic with a gift for turning the preposterous into the shocking. A glance at Strindberg’s innumerable volumes of autobiography reveals the true horse-power of his so-called ideas. He believed in everything that was idiotic, from transcendentalism to witchcraft. He believed that his enemies were seeking to destroy him by magic; he spent a whole winter trying to find the philosopher’s stone. Even among the clergy, it would be difficult to find a more astounding ass than Strindberg. But he had, for all his folly, a considerable native skill at devising effective stage-plays—a talent that some men seem to be born with—and under cover of it he acquired his reputation as a thinker. Here he was met half way by the defective powers of observation and reflection of his followers, the half-wits aforesaid; they mistook their enjoyment of his adept technical trickery for an appreciation of ideas. Turn to the best of his plays, “The Father.” Here the idea—that domestic nagging can cause insanity—is an almost perfect platitude, for on the one hand it is universally admitted and on the other hand it is not true. But as a stage play pure and simple, the piece is superb—a simple and yet enormously effective mechanism. So with “Countess Julie.” The idea here is so vague and incomprehensible that no two commentators agree in stating it, and yet the play is so cleverly written, and appeals with such a sure touch to the universal human weakness for the obscene, that it never fails to enchant an audience. The case of “Hedda Gabler” is parallel. If the actresses playing Hedda in this country made up for the part in the scandalous way their sisters do in Germany (that is, by wearing bustles in front), it would be as great a success here as it is over there. Its general failure among us is due to the fact that it is not made indelicate enough. This also explains the comparative failure of the