MAGDA. Sudermann's I Heimat' ('Home) was the sensation of the theatrical season 1889 90 in Berlin, and the play, either in the original German or in translations commonly bearing the title the name of the heroine— is probably to be regarded as the most widely known and the most successful drama of the end of the century. Its success is traceable to at least four causes: its theme of revolt against paternal tyranny is one to which the times were sympathetic, its construction is skilful and in every sense theatrical, it contains a number of picturesque episodes and amusing characters, and is distinguished for animated dialogue; but most of all, its heroine is an unconventional, self-assertive, and emotional anew womar> who affords an actress an unusual opportunity for temperamental display. The technique is a clever combination of the naturalism of Ibsen and the methods of the drame d these familiar in the works of Dumas fits. The conventional
raisonneur — in the person of the Pastor Heff terdingk —mediates between Magda and her father, and debates with each the problems presented by the situation of a prodigal daughter who returns home after a life of moral irregu larity but operatic success. We are bidden to despise respectability and admire independence. But the representative of each side is far from being an acceptable champion. Magda's father fails to recognize the difference between a child with duties and a human being with rights, and Magda reveals no conception of the fact that duty is only in part a social obli gation and is in its innermost essence an obliga tion of self-respect. Translated by C. E. A. Winslow (Boston 1896); edited by F. G. G. Schmidt (Boston 1909).