It was the success of his novels that drew readers back to the essays, just as it was the vogue of Sudermann's plays that made his earlier novels popular.

For some striking illustrations of this, see Sudermann's drama, Die Ehre (Honour).

A stand-up fight between will and willsuch a fight as occurs in, say, the Hippolytus of Euripides, or Racine's Andromaque, or Molière's Tartufe, or Ibsen's Pretenders, or Dumas's Françillon, or Sudermann's Heimat, or Sir Arthur Pinero's Gay Lord Quex, or Mr. Shaw's Candida, or Mr. Galsworthy's Strifesuch a stand-up fight, I say, is no doubt one of the intensest forms of drama.

In Heimat (Magda) and in Johannisfeuer, Sudermann keeps the tension at its height up to the fall of the curtain.

In Germany, Hauptmann, and, so far as I understand him, Wedekind, are psychologists, Sudermann, a vigorous character-drawer.

Goethe and Schiller found their herald in Carlyle; Fichte's idealistic philosophy helped to mold Emerson's view of life; Amadeus Hoffmann influenced Poe; Uhland and Heine reverberate in Longfellow; Sudermann and Hauptmann appear in the repertory of London and New York theatresthese brief statements include nearly all the names which to the cultivated Englishman and American of to-day stand for German literature.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann. PAUL, ELLIOT.

SUDERMANN, HERMANN.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann.

SEE Nuhn, Ruth Suckow. SUDERMANN, HERMANN.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann. PAUL, ELLIOT.

SUDERMANN, HERMANN.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann.

SEE Nuhn, Ruth Suckow. SUDERMANN, HERMANN.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann.

SEE Sudermann, Hermann.

SEE Nuhn, Ruth Suckow. SUDERMANN, HERMANN.

No man who combines these two things can fail of admiration of Hauptmann, Sudermann and their brothers of the pen.