not back of it intensity of feeling enough to lift itself out of farce.
Between "The Place Hunters" and "Grangecolman" is an interval of seven years, but it is the Mr. Martyn of earlier plays, still faithful to Ibsen and still of a dialogue more formal than that of life, that we find in this play of his middle age. As you read "Grangecolman" you think of "Rosmersholm," as you thought of "The Wild Duck" when you read "The Heather Field." "Grangecolman" is the story of a daughter's frustration of her elderly father's intention to marry his young amanuensis, by playing the rôle of the family ghost, long fabled but never seen, and being shot by the girl she feels is driving her out of her home. Katherine Devlin is another creature of her maker's misogyny. She is a bitter, barren woman of suffragette type, whose marriage and career as a doctor have been alike failures, and who has alienated herself from all, even her mild father, by her selfishness and discontent. It is she who has brought Miss Clare Farquhar into her father's home to render him those services in his pursuit of heraldry and genealogy that were irksome to her, and so she herself is responsible for his dependence on his secretary, which, when once the daughter recognizes it, threatens annihilation of what little pleasure she has in her life. Her husband is a dreamy sort of man, slack-fibred and pottering, who goes about waving the banner of the ideal and refusing to work. The fifth character of the play is the butler, Horan. All are clearly characterized, but if the dialogue is less stiff than that of the earlier plays, it is little more distinctive of the
