police appear to drag him back to prison for failing to report himself as ticket-of-leave man. Completely overwhelmed by the inexorability of his environment, young Falder seeks and finds peace, greater than human justice, by throwing himself down to death, as the detectives are taking him back to prison.
It would be impossible to estimate the effect produced by this play. Perhaps some conception can be gained from the very unusual circumstance that it had proved so powerful as to induce the Home Secretary of Great Britain to undertake extensive prison reforms in England. A very encouraging sign this, of the influence exerted by the modern drama. It is to be hoped that the thundering indictment of Mr. Galsworthy will not remain without similar effect upon the public sentiment and prison conditions of America. At any rate, it is certain that no other modern play has borne such direct and immediate fruit in wakening the social conscience.
Another modern play, The Servant in the House, strikes a vital key in our social life. The hero of Mr. Kennedy's masterpiece is Robert, a coarse, filthy drunkard, whom respectable society has repudiated. Robert, the sewer cleaner, is the real hero of the play; nay, its true and only savior. It is he who volunteers to go down into the dangerous sewer, so that his comrades "can 'ave light and air." After all, has he not sacrificed his life always, so that others may have light and air?
The thought that labor is the redeemer of social well-being has been cried from the housetops in every tongue and every clime. Yet the simple
