The reader will now understand why these three great plays have forced themselves upon us in England as they forced themselves upon Brieux’s own countrymen. Just as Brieux had to write them, cost what it might, so we have had to translate them and perform them and finally publish them for those to read who are out of reach of the theatre. The evils they deal with are as rampant in England and America as they are in France. The gonococcus is not an exclusively French microbe: the possibility of sterilizing marriage is not bounded by the Channel, the Rhine, or the Alps. The furious revolt of poor women against bringing into the world more mouths to eat the bread that is already insufficient for their firstborn, rages with us exactly as it does in the final scene of Maternity. Therefore these three plays are given to the English speaking peoples first. There are others to follow of like importance to us. And there are some, like La Française, which we may read more lightheartedly when we have learnt the lesson of the rest. In La Française an American (who might just as well be an Englishman) has acquired his ideas of France and French life, not from the plays of Brieux, but from the conventional plays and romances which have only one theme: adultery. Visiting France, he is received as a friend in an ordinary respectable French household, where he conceives himself obliged, as a gallant man of the world, to invite his hostess to commit with him the adultery which he imagines to be a matter of course in every French _ménage_. The ignominious failure of his enterprise makes it much better comedy than his success would have made it in an ordinary fashionable play. As Good Fish in the Sea. The total number of plays produced by Brieux up to the date on which I write these lines is fifteen. The earliest dates as far back as 1890. It is therefore high time for us to begin to read him, as we have already begun to act him. The most pitiful sort of ignorance is ignorance of the few great men who are men of our own time. Most of us die without having heard of those contemporaries of ours for our opportunities of seeing and applauding whom posterity will envy us. Imagine meeting the ghost of an Elizabethan cockney in heaven, and, on asking him eagerly what Shakespear was like, being told either that the cockney had never heard of Shakespear, or knew of him vaguely as an objectionable writer of plays full of regrettable errors of taste. To save our own ghosts from disgracing themselves in this manner when they are asked about Brieux, is one of the secondary uses of this first instalment of his works in English. G. B. S. PARKNASILLA AND AYOT ST. LAWRENCE. 1909. Maternity [Maternité] Translated by Mrs. Bernard Shaw Cast of the original production before the Stage Society at the King’s Hall, London, on April 8, 9 and 10, 1906.