e fall of the
same year 'The Father' was given at the same theatre, with Philippe
Garnier in the title part.

"But as early as 1889 the Freie Buehne had been started at Berlin,
and before 1893 all three of my dramas had been performed. 'Miss
Julia' was preceded by a lecture given by Paul Schlenther, now
director of the Hofburg Theater at Vienna. The principal parts were
played by Rosa Bertens, Emanuel Reicher, Rittner and Jarno. And
Sigismund Lautenburg, director of the Residenz Theater, gave more
than one hundred performances of 'Creditors.'

"Then followed a period of comparative silence, and the drama sank
back into the old ruts, until, with the beginning of the new
century, Reinhardt opened his Kleines Theater. There I was played
from the start, being represented by the long one-act drama 'The
Link,' as well as by 'Miss Julia' (with Eysoldt in the title part),
and 'There Are Crimes and Crimes.'"

He went on to tell how one European city after another had got its
"Little," or "Free," or "Intimate" theatre. And had he known of it,
he might have added that the promising venture started by Mr.
Winthrop Ames at New York comes as near as any one of its earlier
rivals in the faithful embodiment of those theories which, with
Promethean rashness, he had flung at the head of a startled world in
1888. For the usual thing has happened: what a quarter-century ago
seemed almost ludicrous in its radicalism belongs to-day to the
established traditions of every progressive stage.

Had Strindberg been content with his position of 1888, many honours
now withheld might have fallen to his share. But like Ibsen, he was
first and last--and to the very last!--an innovator, a leader of
human thought and human endeavour. And so it happened that when the
rest thought to have overtaken him, he had already hurried on to a
more advanced position, heedless of the scorn poured on him by
those to whom "consistency" is the foremost of all human virtues.
Three years before his death we find him writing as follows in
another pamphlet "An Open Letter to the Intimate Theatre,"
Stockholm, 1909--of the position once assumed so proudly and so
confidently by himself:

"As the Intimate Theatre counts its inception from the successful
performance of 'Miss Julia' in 1900, it was quite natural that the
young director (August Falck) should feel the influence of the
Preface, which recommended a search for actuality. But that was
twenty years ago, and alth