On the production of "Salomé" by the New Stage Club in May, 1905, the dramatic critics again expressed themselves vehemently, vociferating their regrets that the play had been dragged from its obscurity. The obscure drama, however, had become for five years past part of the literature of Europe. It is performed regularly or intermittently in Holland, Sweden, Italy, France, and Russia, and it has been translated into every European language, including the Czech. It forms part of the repertoire of the German stage, where it is performed more often than any play by any English writer except Shakespeare. Owing, perhaps, to what I must call its obscure popularity in the continental theatres, Dr. Strauss was preparing his remarkable opera at the very moment when there appeared the criticisms to which I refer, and since the production of the opera in Dresden in December, 1905, English musical journalists and correspondents always refer to the work as founded on Wilde's drama. That is the only way in which they can evade an awkward truth-a palpable contravention to their own wishes and theories.