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 entrusted 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 pott quarto, and they will cost, as a rule, 2s. 6d. net. or 3s. 6d. net. each.
EARLY VOLUMES.
HENRIK IBSEN
“Love’s Comedy” (Kjærlighedens Komedie).
MAURICE MAETERLINCK
| “Intérieur.”—William Archer. | ||
| “La Mort de Tintagiles.” | } | —Alfred Sutro. |
| “Alladine et Palomides.” | ||
VILLIERS DE L’ISLE ADAM