misdescribed. On the other hand, I conceive it probable that the poet had documents to found upon, which may be unknown to his critics. I have never taken any pains to satisfy myself upon the point, which seems to me quite immaterial. There is not the slightest doubt that the life-history of a Captain Alving may, and often does, entail upon posterity consequences quite as tragic as those which ensue in Oswald's case, and far more wide-spreading. That being so, the artistic justification of the poet's presentment of the case is certainly not dependent on its absolute scientific accuracy. The flaws above alluded to are of another nature. One of them is the prominence given to the fact that the Asylum is uninsured. No doubt there is some symbolical purport in the circumstance; but I cannot think that it is either sufficiently clear or sufficiently important to justify the emphasis thrown upon it at the end of the second act. Another dubious point is Oswald's argument in the first act as to the expensiveness of marriage as compared with free union. Since the parties to free union, as he describes it, accept all the responsibilities of marriage, and only pretermit the ceremony, the difference of expense, one would suppose, must be neither more nor less than the actual marriage fee. I have never seen this remark of Oswald's adequately explained, either as a matter of economic fact, or as a trait of character. Another blemish, of somewhat greater moment, is the inconceivable facility with which, in the third act, Manders suffers himself to be victimised by Engstrand. All these little things, taken together, detract, as it seems to me, from the artistic completeness of the play, and impair its claim to rank as the poet's masterpiece. Even in prose drama, his greatest and most consummate achievements were yet to come.

Must we, then, wholly dissent from Björnson's judgment? I think not. In a historical, if not in an aesthetic, sense, _Ghosts_ may well rank as Ibsen's greatest work. It was the play which first gave the full measure of his technical and spiritual originality and daring. It has done far more than any other of his plays to "move boundary-posts." It has advanced the frontiers of dramatic art and implanted new ideals, both technical and intellectual, in the minds of a whole generation of playwrights. It ranks with _Hernani_ and _La Dame aux Camélias_ among the epoch-making plays of the nineteenth century, while in point of essential originality it towers above them. We cannot, I think, get nearer to the truth than Georg Brandes did in the above-quoted phrase from his first notice of the play, describing it as not, perhaps, the poet's greatest work, but certainly his noblest deed. In another essay, 

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