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have pleasure in announcing that they have arranged to issue a series of. It is the aim of this Series to represent, as widely as possible, the activity of the modern drama—not confined to stage performance—in England and throughout the continent of Europe. It so happens that, though translations seem to be more in demand every day, the greater number of the Continental dramatists are at present little known in this country. Among them will be found predecessors and followers of Ibsen or Maeterlinck; as well as others who reflect more independently the genius of their own country.

Love's Comedy, which marks a transition from the early romantic to the later social plays, is the only important work of Ibsen's not yet translated into English. The name of Strindberg, whose position in Sweden may be compared to that of Ibsen in Norway, will be almost new to the English public. Villiers' La Révolte is a striking forecast of The Doll's House. Verhaeren is already known here as one of the foremost of Belgian writers, who, like Maeterlinck, uses the French tongue; and Brieux is among the most attractive of the younger native French dramatists. Ostrovsky's The Storm, painting 'The Dark World,' is generally recognised as the characteristic Russian drama. The Convert, by Stepniak, will be specially interesting as its author's only dramatic attempt.

The work of translation has been intrusted to English writers specially conversant with the literatures represented, who, in many cases, are already associated in the public mind with the authors they are here interpreting. Every play will be translated in extenso, and, if in verse, as nearly as possible in the original metres. The volumes will contain brief introductions, bibliographical and explanatory rather than critical, and such annotations as may be necessary.

The volumes will be printed in small quarto, and they will cost, as a rule, 2s. 6d. net or 3s. 6d. net each.

LONDON: DUCKWORTH AND CO.