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 that she shall continue to do so, and the social conception of duty insists that for the sake of that lie she need be nothing else than a plaything, a doll, a nonentity.

When Nora closes behind her the door of her doll's house, she opens wide the gate of life for woman, and proclaims the revolutionary message that only perfect freedom and communion make a true bond between man and woman, meeting in the open, without lies, without shame, free from the bondage of duty.

GHOSTS

THE social and revolutionary significance of Henrik Ibsen is brought out with even greater force in "Ghosts" than in his preceding works.

Not only does this pioneer of modern dramatic art undermine in "Ghosts" the Social Lie and the paralyzing effect of Duty, but the uselessness and evil of Sacrifice, the dreary Lack of Joy and of Purpose in Work are brought to light as most pernicious and destructive elements in life.

Mrs. Alving, having made what her family called a most admirable match, discovers shortly after her marriage that her husband is a drunkard and a rou&eacute;. In her despair she flees to her young friend, the divinity student Manders. But he, preparing to save souls, even though they be encased