A letter to Brandes, written six months after the appearance of the play (June 12, 1883), answers some objection which the critic seems to have made—of what nature we can only guess: “As to _An Enemy of the People_, if we had a chance to discuss it I think we should come to a tolerable agreement. You are, of course right in urging that we _must_ all work for the spread of our opinions. But I maintain that a fighter at the intellectual outposts can never gather a majority around him. In ten years, perhaps, the majority may occupy the standpoint which Dr. Stockmann held at the public meeting. But during these ten years the Doctor will not have been standing still; he will still be at least ten years ahead of the majority. The majority, the mass, the multitude, can never overtake him; he can never have the majority with him. As for myself, at all events, I am conscious of this incessant progression. At the point where I stood when I wrote each of my books, there now stands a fairly compact multitude; but I myself am there no longer; I am elsewhere, and, I hope, further ahead.” This is a fine saying, and as just as it is fine, with respect to the series of social plays, down to, and including, _Rosmersholm_. To the psychological series, which begins with _The Lady from the Sea_, this law of progression scarcely applies. The standpoint in each is different; but the movement is not so much one of intellectual advance as of deepening spiritual insight. As Ibsen predicted, the Scandinavian theatres seized with avidity upon _An Enemy of the People_. Between January and March 1883 it was produced in Christiania, Bergen, Stockholm, and Copenhagen. It has always been very popular on the stage, and was the play chosen to represent Ibsen in the series of festival performances which inaugurated the National Theatre at Christiania. The first evening, September 1, 1899, was devoted to Holberg, the great founder of Norwegian-Danish drama; _An Enemy of the People_ followed on September 2; and on September 3 Björnson held the stage, with _Sigurd Jorsalfar_. Oddly enough, _Ein Volksfeind_ was four years old before it found its way to the German stage. It was first produced in Berlin, March 5, 1887, and has since then been very popular throughout Germany. It has even been presented at the Court Theatres of Berlin and Vienna—a fact which seems remarkable when we note that in France and Spain it has been pressed into the service of anarchism, as a revolutionary manifesto. When first produced in Paris in 1895, and again in 1899, it was made the occasion of anarchist demonstrations. It was the play chosen for representation in Paris on Ibsen’s seventieth birthday, March 29, 1898. In England it was first produced by Mr. Beerbohm Tree at the Haymarket Theatre on the afternoon of June 14, 1893. Mr. Tree has repeated his performance of Stockmann a good many times in London, the provinces, and America. He revived the play at His Majesty’s Theatre in 1905. Mr. Louis Calvert