the Stadttheater, Augsburg, the poet himself being present. In the following winter it was acted at the famous Court Theatre at Meiningen, again in the presence of the poet. The first (private) performance in Berlin took place on January 9, 1887, at the Residenz Theater; and when the Freie Bühne, founded on the model of the Paris Théâtre Libre, began its operations two years later (September 29, 1889), Gespenster was the first play that it produced. The Freie Bühne gave the initial impulse to the whole modern movement which has given Germany a new dramatic literature; and the leaders of the movement, whether authors or critics, were one and all ardent disciples of Ibsen, who regarded Gespenster as his typical masterpiece. In Germany, then, the play certainly did, in Ibsen's own words, "move some boundary-posts." The Prussian censorship, presently withdrew its veto, and on November 27, 1894, the two leading literary theatres of Berlin, the Deutsches Theater and the Lessing Theater, gave simultaneous performances of the tragedy. Everywhere in Germany and Austria it is now freely performed; but it is naturally one of the least popular of Ibsen's plays.
It was with Les Revenants that Ibsen made his first appearance on the French stage. The play was produced by the Théâtre Libre (at the Théâtre des Menus-Plaisirs) on May 29, 1890. Here, again, it became the watchword of the new school of authors and critics, and aroused a good deal of opposition among the old school. But the most hostile French criticisms were moderation itself compared with the torrents of abuse which were poured upon Ghosts by the journalists of London when, on March 13, 1891,
