[All of a sudden she
looks dubiously at the Sister.
looks dubiously at the Sister.
Warner - World's Best Literature - v12 - Gre to Hen
A good strong pinch and the magic
word of the Caliph changed him into a stork. The Caliph had
him shut up in an iron cage and placed in his garden.
Long and happy lived the Caliph Chasid with his wife the
princess. His most pleasant hours were always those when the
Grand Vizier visited him during the afternoon. They then very
frequently spoke of their stork adventures, and when the Caliph
was very jovial, he amused himself with imitating the Grand
Vizier when he was a stork: he strutted up and down the cham-
ber with stiff legs, clapped, fluttered his arms as though they
were wings, and showed how vainly the latter had turned to
the east, crying all the while, "Mu- Mu—. ” This entertain-
ment was at all times a great pleasure to Madam Caliph and
her children; but when the Caliph kept on clapping a little
too long, and nodded, and cried "Mu-Mu," then the Vizier
threatened him, smiling, that he would communicate to Madam
Caliph what had been discussed outside the door of the night-owl
princess.
## p. 7025 (#417) ###########################################
7025
GERHART HAUPTMANN
(1861 ? )
HEN Gerhart Hauptmann's first dramas were represented on
the stage, it was generally assumed that the author had
joined the ranks of those realists who delight in picturing
only the most depraved side of human nature. Although a leader in
that school whose chief tendency is socialism, it is said that Haupt-
mann is really an idealist, who hopes to redeem the social world by
inspiring disgust with existing evils and thus awakening a desire for
general reform. He was greatly disappointed at the class of specta-
tors which his plays attracted. Instead of appealing to sympathetic
audiences, the indifferent or coarser elements of society witnessed the
performances, and it was not unusual that scenes of revolting degra-
dation elicited applause.
With great skill and strength the author unfolds characters that
reflect social degradation and the worst passions. The unavoidable
consequences of heredity and environment, the sufferings of the lower
working-classes, the brutality of their unclean lives, the terrors of
starvation, are described with vivid force worthy of a better subject.
These gruesome scenes are sometimes relieved by a rare bit of poetic
feeling, which brings into bright contrast the beauty of a true and
noble emotion. Before Sunrise' is intensely morbid, and represents
a succession of horrors. The climax is reached hen the one inno-
cent being, who has excited interest and sympathy, is swept away in
the whirlpool of misfortune through no fault of her own. Even virtu-
ous qualities have no chance of survival, and the curse of heredity
falls upon the innocent and wicked alike, everywhere claiming untold
victims.
Notwithstanding his choice of material, Hauptmann's early writings
were replete with strong situations. At last his poetic nature asserted
itself more forcibly, and an occasional gleam of light brightened the
dark realism of his plays. In his more recent works there is no
longer a general and hopeless destruction of character under adverse
conditions. He sometimes permits the higher qualities of human
nature to triumph over evil. In Crampton College' there is a touch
of grandeur, when the child Gertrude, with her generous little heart,
bids defiance to the whole world. With her strong little arms about
her father's neck, she sustains the weak, disgraced man, never failing
in her love and devotion until she succeeds in redeeming him.
XII-440
## p. 7026 (#418) ###########################################
7026
GERHART HAUPTMANN
'The Weavers' is a socialistic play of intense dramatic power. It
has passed over the great stages of the world, and everywhere has
produced a profound impression. The play is founded on scenes that
occurred during the uprising of the weavers in Silesia in 1844. On
one side, Hauptmann shows the opulent employer who oppresses his
starving workmen beyond their powers of endurance; on the other
side are the poor weavers, driven to rage and desperation by the
sufferings of poverty, with neither laws to protect them nor a medi-
ator to speak the conciliatory word. A leading spirit among the
weavers is Bäcker, who declares that it is all the same to him
whether he starves at the loom or out in the ditch, and he bursts
forth indignantly: "The right kind of employer can get along with
three or four hundred workmen in the turning of his hand, and he
leaves a few pickings for his men. But a man such as you has four
bellies like a cow, and teeth like a wolf. " 'The Weavers' has been
criticized as representing only a succession of unconnected scenes.
One German critic observes that if the Angel of Starvation is imagined
hovering over each scene, the play will not be lacking in unity.
In the dream poem 'Hannele,' Hauptmann reveals his full poetic
powers.
The performance of this drama created a great sensation.
In one of the great European cities the actors are said to have been
so profoundly affected that they refused to repeat the representa-
tion. Hannele is the innocent victim of a brutal, drunken stepfather.
Abused unto death, the poor child is carried to the hospital, where
everything is done to alleviate the agony of her last hours. As her
mind wanders, the misery of her short young life is revealed in a
series of tableaux. In a vision the good teacher appears, to lead her
gently by the hand to another life, free from sin and suffering.
Heaven opens before her, and all the joys of a blessed future de-
scend upon the innocent, abused child. It is a poem of heart-rending
pathos, and the esteem in which the work is held as a literary pro-
duction is shown by the fact that the Grillparzer Prize at Vienna was
recently awarded to Hauptmann for this tender and poetic drama.
## p. 7027 (#419) ###########################################
GERHART HAUPTMANN
7027
THE DEATH AND AWAKENING OF HANNELE
From 'Hannele ›
[Little Hannele Mattern, the starved and ill-used stepdaughter of a brutal
workman, has been so cruelly treated by her father that the child has tried to
drown herself. Rescued by the young village schoolmaster, her only friend
among the villagers (a kind of allegorical type of Christ), she is brought to
the squalid almshouse of the place to die. The child lies in a darkened room,
watched by a Sister of Mercy. Terrible visions of her past suffering occur,
and the early part of the drama largely represents what passing in her
tired and confused brain. Presently an angel enters the death chamber and
soothes the child, giving her a "flower from heaven,»- -a flower which none
save herself can see,- and other kind spirits cheer her. After they have gone
the little sufferer is left in happy surprise and expectancy. ]
Everything is as it was before the appearance of the Angels. The Sister
of Mercy is seated beside the bed in which Hannele is lying. She
relights the candle, and Hannele opens her eyes. Her inward vision
seems still to be present to her. Her features still wear an expres-
sion of heavenly rapture. As soon as she recognizes the Sister she
begins to speak with joyful eagerness.
ANNELE Sister! angels! - Sister Martha! angels! Do
H
know who have been here?
Sister-H'm! are you awake again already?
Hannele - Just guess! do! [Unable to contain herself. ] An-
gels! angels! real angels! angels from heaven, Sister Martha!
Angels, you know, with long wings.
Sister-Well then, if you've had such beautiful dreams
Hannele - There now! She says I dreamt it! But look at
what I've got here; just look at it! [She makes a motion, as
though she held a flower in her hand and were showing it to the
Sister. ]
―
Sister-What is it?
Hannele - Just look at it!
Sister ·H'm!
-
――――――
Hannele - Here it is; look at it!
Sister- Aha!
Hannele - Just smell it.
Sister [pretending to smell a flower]-H'm-lovely!
Hannele - Not so close to it! You'll break the stalk.
Sister-Oh, I'm very sorry. What sort of flower is it?
Hannele - Why, don't you know? The key-of-heaven.
Sister-Is it really?
you
## p. 7028 (#420) ###########################################
7028
GERHART HAUPTMANN
Hannele Why, surely you're - Do bring the light-quick,
-
quick!
Sister [holding up the candle] - Ah yes, now I see it.
Hannele-Isn't it lovely?
Sister-But you're talking a great deal too much. We must
keep quiet now, or the doctor will scold us. And here he has
sent you your medicine. We must take it, as he bids us.
Hannele-O Sister, you're far too much troubled about me!
You don't know what has happened. Do you? do you? —do
tell me, if you know. Who gave me this? Well-the little golden
key? Who? say! What is the little golden key meant to open?
Well?
Sister You'll tell me all about it to-morrow morning. Then,
after a good night's rest, you'll be strong and well.
Hannele-But I am well. [She sits up and puts her feet to
the ground. ] You see, Sister, I'm quite, quite well!
Sister Why, Hannele! No, you mustn't do that, you really
mustn't.
――――
ww
Hannele [rising and pushing the Sister away, makes a few
steps forward. ]-You must let me. You must let me. I must
go. [She starts in terror and gazes fixedly at a certain point. ]
O heavenly Savior!
―
A black-robed and black-winged Angel becomes visible. He is great, strong,
and beautiful, and bears a long serpentine sword, the hilt of which
is draped in black gauze. Grave and silent, he sits beside the stove
and gazes at Hannele calmly and immovably. A white dream-like
light fills the room.
Hannele - Who are you? [No answer. ] Are you an angel?
[No answer. ] Is it to me you come? [No answer. ] I am Han-
nele Mattern. Is it to me you come? [No answer. ]
[Sister Martha has stood by, with folded hands, devoutly and humbly. Now
she moves slowly out of the room. ]
-
as an
Hannele Has God taken the gift of speech from your tongue?
[No answer. ] Are you a friend to me? Do you come
enemy? [No answer. ] Have you a sword in the folds of your
garment? [No answer. ] B-r-r-r! I am cold. Piercing frost
spreads from your wings; cold breathes around you. [No an-
swer. ] Who are you? [No answer. A sudden horror overcomes
her. She turns with a scream as though some one stood behind
her. ] Mother! little mother!
## p. 7029 (#421) ###########################################
GERHART HAUPTMANN
7029
A Figure in the dress of the Sister of Mercy, but younger and more beau-
tiful, with long white pinions, comes in.
it.
Hannele [shrinking close up to the Figure and seizing her hand]
Mother! little mother! there is some one here.
Sister Where?
*
Hannele-There, there!
Sister-Why are you trembling so?
Hannele-I'm frightened!
Sister-Fear nothing; I am with you.
Hannele - My teeth are chattering with terror.
He makes me shudder!
Sister - Do not be frightened; he is your friend.
Hannele - Who is he, mother?
Sister - Do you not know him?
Hannele - Who is he?
――――
Sister-Death.
―――――――
Hannele Death! [She looks for
[She looks for a while at the black Angel
in awe-stricken silence. ] Must it be, then?
Sister-It is the entrance, Hannele.
Hannele - Must every one pass through the entrance?
―――
Sister-Every one.
Hannele-Will you grasp me hard, Death? He is silent.
He makes no answer, mother, to anything I say.
Sister - The words of God are loud within you.
Hannele I have often longed for you from the depths of my
heart; but now I am afraid.
Sister Make you ready.
Hannele To die?
-
――――――――――
I can't help
――――――――
Sister-Yes.
Hannele [after a pause, timidly] - Must I lie in the coffin in
these rags and tatters?
Sister-God will clothe you.
She produces a small silver bell and rings it. Immediately there ap-
pears, moving noiselessly—as do all the succeeding apparitions—a
little humpbacked Village Tailor, carrying over his arm a bridal
gown, veil, and wreath, and in his hands a pair of glass slippers.
He has a comical, halting gait. He bows in silence to the Angel,
then to the Sister, and last and lowest to Hannele.
The Tailor [with a profusion of bows]- Mistress Johanna
Katharina Mattern [he clears his throat], his Serene Highness
## p. 7030 (#422) ###########################################
7030
GERHART HAUPTMANN
your most gracious Father has condescended to order your bridal
dress of me.
Sister [takes the gown from the Tailor and begins to dress
Hannele]-Come, I will put it on for you.
Hannele [in joyful excitement]-Oh, how it rustles!
Sister-White silk, Hannele.
Hannele [looking down in rapture at the gown] - Won't people
be astonished to see me so beautifully dressed in my coffin?
Tailor-Mistress Johanna Katharina Mattern [clears his
throat], the whole village is talking of nothing but [clears his
throat] what good fortune death is bringing you, Mistress Hanna
[clears his throat]. His Serene Highness [clears his throat] your
most gracious Father [clears his throat] has been to the Overseer.
Sister [placing the wreath on Hannele's head] - Now bend thy
head, thou bride of Heaven.
Hannele [quivering with childish joy]-Do you know, Sister
Martha, I'm looking forward so to death.
[All of a sudden she
looks dubiously at the Sister. ] It is you, isn't it?
Sister Yes.
Hannele- You are really Sister Martha? Oh, no! you are my
mother!
Sister-Yes.
Hannele - Are you both?
Sister-The children of heaven are as one in God.
Tailor-If I might be permitted, Princess Hannele! [Kneel
ing before her with the slippers. ] These are the tiniest little slip-
pers in the land. They have all too large feet - Hedwig, and
Agnes, and Lisa, and Martha, and Minna, and Anna, and Kate,
and Greta. [He has put the slippers on her feet. ] They fit, they
fit! The bride is found; Mistress Hannele has the smallest feet.
When you have any further orders Your servant, your serv-
ant! [Goes off, bowing profusely. ]
Hannele - I can scarcely bear to wait, little mother.
Sister-Now you need not take any more medicine.
Hannele-No.
Sister-Now you'll soon be as fresh and sound as a mountain
trout, Hannele! Come now, and lay you down on your death-bed.
[She takes Hannele's hand and leads her gently to the bed, on which Han-
nele lies down. ]
Hannele - At last I shall know what it is to die.
## p. 7031 (#423) ###########################################
GERHART HAUPTMANN
7031
Sister-Yes, you will, Hannele.
Hannele [lying on her back with
holding a flower]-I have a pledge.
Press it close to your breast.
Sister
Hannele [with a renewal of dread, looking shrinkingly towards
the Angel]- Must it be, then?
Sister-It must.
er hands as if they were
[From the far distance are heard the strains of a funeral march. ]
Hannele [listening]- Now they're playing for the burial
Meister Seyfried and the musicians. [The Angel rises. ] Now he
stands up. [The storm without has increased. The Angel moves
slowly and solemnly towards Hannele. ] Now he is coming to
me. O Sister! mother! I can't see you! Where are you? [To
the Angel, imploringly. ] Quick, quick, thou dumb black spirit!
[As though groaning under an insupportable weight. ] It is crush-
ing me-crushing me-like a-like a stone. [The Angel slowly
raises his great sword. ] He's going to-going to-destroy me
utterly. [In an agony of terror. ] Help! help, Sister!
Sister [interposing with dignity between the Angel and Han-
nele, and laying both her hands in an attitude of protection upon
Hannele's heart, speaking loftily, solemnly, and with authority]-
He dare not! I lay my consecrated hands upon thy heart!
――
-
The Black Angel disappears. Silence. The Sister folds her hands and
looks down upon Hannele with a gentle smile: then she becomes ab-
sorbed in thought, and moves her lips in silent prayer. The strains
of the funeral march have in the mean time continued without inter-
ruption. A sound as of many lightly pattering feet is heard. Pres-
ently the figure of the schoolmaster Gottwald appears in the middle
doorway. The funeral march ceases. Gottwald is dressed in black
as though for a funeral, and carries in his hand a bunch of beau-
tiful lilies of the valley. He has reverently taken off his hat, and
while still on the threshold turns to those who follow him, with a
gesture commanding silence. Behind him appear his School-Children
-boys and girls in their best clothes. In obedience to his gesture
they stop their whispering and remain quite silent. They do not vent-
ure to cross the threshold. With solemn mien Gottwald now ap-
proaches the Sister, who is still praying.
Gottwald [in a low voice]-Good-day, Sister Martha!
Sister Mr. Gottwald, God's greeting to you!
Gottwald [looking at Hannele, shakes his head sadly and pity-
ingly] Poor little thing!
## p. 7032 (#424) ###########################################
7032
GERHART HAUPTMANN
Sister-Why are you so sad, Mr. Gottwald?
Gottwald- Because she is dead.
Sister-We will not grieve for that; she has found peace, and
for her sake I am glad.
Gottwald [sighing]-Yes, it is well with her. Now she is
free from all trouble and sorrow.
Sister [sunk in contemplation] - How beautiful she looks as
she lies there.
Gottwald-Yes, beautiful. Now that you are dead, you bloom
forth in all your loveliness!
Sister-God has made her so beautiful because she had faith
in him.
Gottwald-Yes, she had faith and she was good. [He heaves
a deep sigh, opens his hymn-book and looks sadly into it. ]
Sister [also looking into the hymn-book]-We must not mourn.
We must be still and patient.
Gottwald-Ah, my heart is heavy.
Sister Because she is set free?
Gottwald-Because my two flowers are withered.
Sister What flowers?
Gottwald-Two violets here in my book. They are the dead
eyes of my dear Hannele.
Sister-In God's heaven they will bloom again far more
sweetly!
Gottwald-O God! how much longer will our pilgrimage last
through this vale of darkness and of tears? [With a sudden
change, briskly and busily, producing sheets of music. ] What do
you think?
I thought we might begin, here in the house, by
singing the hymn 'Jesus, oh, I trust in thee. '
Sister-Yes, that is a beautiful hymn; and Hannele Mattern's
heart was full of faith.
――――
Gottwald-And then out in the church-yard we will sing
'Set me free. ' [He turns, goes to the school-children, and says:]
Number 62, 'Set me free. ' [He intones softly, beating time:]
"Set me free, oh, set me free,
That I may Jesus see. ”
all
[The children have joined in softly. ] Children, are you
warmly dressed? It will be very cold out in the church-yard.
Come in for a moment. Look at poor little Hannele once more.
[The children crowd in and range themselves solemnly round the
bed. ] Just see how beautiful Death has made the poor little girl!
## p. 7033 (#425) ###########################################
GERHART HAUPTMANN
7933
She ran
Soon she
Here
She was huddled in rags; now she wears silken raiment.
about barefoot; now she has glass slippers on her feet.
will dwell in a golden palace and eat roast meat every day.
she lived on cold potatoes, and often she had not enough of them.
Here you always called her the beggar princess; now she will
soon be a princess in very deed. So if any of you have any-
thing that you want to beg her pardon for, do it now, or she
will tell the dear God all about it, and then it will go ill with
you.
A Little Boy [stepping forward] - Dear Princess Hannele, don't
be angry with me, and don't tell the dear God that I always
called you the beggar princess.
All the Children [in a confused murmur]-We are all so very,
very sorry!
Gottwald-So! Now poor Hannele has already forgiven you.
Now go into the other room and wait for me there.
Sister-Come, I'll take you into the back room, and there I'll
tell you what you must do if you want to become beautiful
angels, as beautiful as Hannele will soon be. [She leads the way;
the children follow her; the door is closed. ]
Gottwald [now alone with Hannele. He lays the flowers at her
feet, with emotion] - Hannele dear, here I've brought you another
bunch of beautiful lilies of the valley. [Kneeling by her bed with
trembling voice. ] Don't quite, quite forget me in your glory!
[He sobs, with his face buried in the folds of her dress. ] It breaks
my heart to part from you.
[Voices are heard; Gottwald rises and covers Hannele with a sheet.
Two
old women, dressed for a funeral, with handkerchiefs and gilt-edged
hymn-books in their hands, enter softly. ]
First Woman [looking around]—I suppose we're the first.
Second Woman-No, the schoolmaster is here already. Good-
day, Mr. Gottwald.
Gottwald-Good-day.
First Woman-Ah, this'll be a sore trouble to you, Mr. Gott-
wald! She was such a good pupil to you; always industrious,
always busy.
Second Woman-Is it true what people are saying? Surely it
can't be true: they say she took her own life.
A Third Woman [who has entered] — That would be a sin
against the Holy Spirit.
## p. 7034 (#426) ###########################################
7034
GERHART HAUPTMANN
Second Woman- A sin against the Holy Ghost.
Third Woman-And the pastor says such a sin can never be
forgiven.
Gottwald-Have you forgotten what the Savior said? “ Suf-
fer the little children to come unto me. "
――――
A Fourth Woman [who has entered]-O good people, good
people, what weather! It's enough to freeze the feet off you! I
only hope the pastor won't be too long about it. The snow is
lying a yard deep in the church-yard.
A Fifth Woman [entering]-The pastor is not going to bury
her, good people! He's going to refuse her consecrated ground.
Pleschke [also appearing]- Have you heard? have you heard?
A grand gentleman has been to see the pastor-has been to see
the pastor-and has told him—yes, told him that Hannla Mat-
tern is a blessed saint.
Hanke [entering hastily] — Do you know what they are bring-
ing? a crystal coffin!
Several Voices-A crystal coffin! - A crystal coffin!
Hanke-O Lord! It must have cost a pretty penny!
Several Voices-A crystal coffin! -A crystal coffin!
Seidel [who has appeared]-We're going to see fine things,
that we are! An angel has passed right through the village, as
tall as a poplar-tree, if you'll believe me. And two others are
sitting by the smithy pond; but they're small, like little children.
The girl was more than a beggar-girl.
Several Voices-The girl was more than a beggar-girl. —
They're bringing a crystal coffin. -
crystal coffin. -An angel has passed through
the village.
Four white-robed Youths carry in a crystal coffin, which they set down near
Hannele's bed. The mourners whisper to each other, full of curi-
osity and astonishment.
Gottwald [raising the sheet a little from Hannele's face] — Look
at the dead child too.
First Woman [peering curiously under the sheet] - Why, her
hair is like gold.
Gottwald [drawing the cloth right away from Hannele, who is
illumined with a pale light]—And she has silken garments and
glass slippers. [All shrink back as though dazzled, with exclama-
tions of the utmost surprise. ]
## p. 7035 (#427) ###########################################
GERHART HAUPTMANN
7035
Several Voices - Ah, how beautiful she is! -Who can it be?
Who can it be? - Little Hannla Mattern? - Hannla Mattern? -
No, I don't believe it!
Pleschke-The girl-the girl-is a-a saint.
[The four youths with tender care lay Hannele in the crystal coffin. ]
Hanke - They say she isn't to be buried at all.
First Woman Her coffin is to be set up in the church.
Second Woman-I believe the girl isn't really dead. She
looks as alive as ever she can be.
Pleschke- Just give me just give me a down feather.
We'll try - we'll try-holding a down feather to her mouth,—
yes, and we'll see - and we'll see if she's still-if she's still
breathing, we will. [They give him a down feather and he
holds it to Hannele's mouth. ] It doesn't stir. The girl is dead!
She hasn't a breath of life in her!
―――――
-
too.
Fourth Woman -
―
--
Third Woman-I'll give her my bunch of rosemary. [She
lays it in the coffin. ]
She can take my bit of lavender with her
―――――
-
Fifth Woman-But where is Mattern?
First Woman - Yes, where is Mattern?
word of the Caliph changed him into a stork. The Caliph had
him shut up in an iron cage and placed in his garden.
Long and happy lived the Caliph Chasid with his wife the
princess. His most pleasant hours were always those when the
Grand Vizier visited him during the afternoon. They then very
frequently spoke of their stork adventures, and when the Caliph
was very jovial, he amused himself with imitating the Grand
Vizier when he was a stork: he strutted up and down the cham-
ber with stiff legs, clapped, fluttered his arms as though they
were wings, and showed how vainly the latter had turned to
the east, crying all the while, "Mu- Mu—. ” This entertain-
ment was at all times a great pleasure to Madam Caliph and
her children; but when the Caliph kept on clapping a little
too long, and nodded, and cried "Mu-Mu," then the Vizier
threatened him, smiling, that he would communicate to Madam
Caliph what had been discussed outside the door of the night-owl
princess.
## p. 7025 (#417) ###########################################
7025
GERHART HAUPTMANN
(1861 ? )
HEN Gerhart Hauptmann's first dramas were represented on
the stage, it was generally assumed that the author had
joined the ranks of those realists who delight in picturing
only the most depraved side of human nature. Although a leader in
that school whose chief tendency is socialism, it is said that Haupt-
mann is really an idealist, who hopes to redeem the social world by
inspiring disgust with existing evils and thus awakening a desire for
general reform. He was greatly disappointed at the class of specta-
tors which his plays attracted. Instead of appealing to sympathetic
audiences, the indifferent or coarser elements of society witnessed the
performances, and it was not unusual that scenes of revolting degra-
dation elicited applause.
With great skill and strength the author unfolds characters that
reflect social degradation and the worst passions. The unavoidable
consequences of heredity and environment, the sufferings of the lower
working-classes, the brutality of their unclean lives, the terrors of
starvation, are described with vivid force worthy of a better subject.
These gruesome scenes are sometimes relieved by a rare bit of poetic
feeling, which brings into bright contrast the beauty of a true and
noble emotion. Before Sunrise' is intensely morbid, and represents
a succession of horrors. The climax is reached hen the one inno-
cent being, who has excited interest and sympathy, is swept away in
the whirlpool of misfortune through no fault of her own. Even virtu-
ous qualities have no chance of survival, and the curse of heredity
falls upon the innocent and wicked alike, everywhere claiming untold
victims.
Notwithstanding his choice of material, Hauptmann's early writings
were replete with strong situations. At last his poetic nature asserted
itself more forcibly, and an occasional gleam of light brightened the
dark realism of his plays. In his more recent works there is no
longer a general and hopeless destruction of character under adverse
conditions. He sometimes permits the higher qualities of human
nature to triumph over evil. In Crampton College' there is a touch
of grandeur, when the child Gertrude, with her generous little heart,
bids defiance to the whole world. With her strong little arms about
her father's neck, she sustains the weak, disgraced man, never failing
in her love and devotion until she succeeds in redeeming him.
XII-440
## p. 7026 (#418) ###########################################
7026
GERHART HAUPTMANN
'The Weavers' is a socialistic play of intense dramatic power. It
has passed over the great stages of the world, and everywhere has
produced a profound impression. The play is founded on scenes that
occurred during the uprising of the weavers in Silesia in 1844. On
one side, Hauptmann shows the opulent employer who oppresses his
starving workmen beyond their powers of endurance; on the other
side are the poor weavers, driven to rage and desperation by the
sufferings of poverty, with neither laws to protect them nor a medi-
ator to speak the conciliatory word. A leading spirit among the
weavers is Bäcker, who declares that it is all the same to him
whether he starves at the loom or out in the ditch, and he bursts
forth indignantly: "The right kind of employer can get along with
three or four hundred workmen in the turning of his hand, and he
leaves a few pickings for his men. But a man such as you has four
bellies like a cow, and teeth like a wolf. " 'The Weavers' has been
criticized as representing only a succession of unconnected scenes.
One German critic observes that if the Angel of Starvation is imagined
hovering over each scene, the play will not be lacking in unity.
In the dream poem 'Hannele,' Hauptmann reveals his full poetic
powers.
The performance of this drama created a great sensation.
In one of the great European cities the actors are said to have been
so profoundly affected that they refused to repeat the representa-
tion. Hannele is the innocent victim of a brutal, drunken stepfather.
Abused unto death, the poor child is carried to the hospital, where
everything is done to alleviate the agony of her last hours. As her
mind wanders, the misery of her short young life is revealed in a
series of tableaux. In a vision the good teacher appears, to lead her
gently by the hand to another life, free from sin and suffering.
Heaven opens before her, and all the joys of a blessed future de-
scend upon the innocent, abused child. It is a poem of heart-rending
pathos, and the esteem in which the work is held as a literary pro-
duction is shown by the fact that the Grillparzer Prize at Vienna was
recently awarded to Hauptmann for this tender and poetic drama.
## p. 7027 (#419) ###########################################
GERHART HAUPTMANN
7027
THE DEATH AND AWAKENING OF HANNELE
From 'Hannele ›
[Little Hannele Mattern, the starved and ill-used stepdaughter of a brutal
workman, has been so cruelly treated by her father that the child has tried to
drown herself. Rescued by the young village schoolmaster, her only friend
among the villagers (a kind of allegorical type of Christ), she is brought to
the squalid almshouse of the place to die. The child lies in a darkened room,
watched by a Sister of Mercy. Terrible visions of her past suffering occur,
and the early part of the drama largely represents what passing in her
tired and confused brain. Presently an angel enters the death chamber and
soothes the child, giving her a "flower from heaven,»- -a flower which none
save herself can see,- and other kind spirits cheer her. After they have gone
the little sufferer is left in happy surprise and expectancy. ]
Everything is as it was before the appearance of the Angels. The Sister
of Mercy is seated beside the bed in which Hannele is lying. She
relights the candle, and Hannele opens her eyes. Her inward vision
seems still to be present to her. Her features still wear an expres-
sion of heavenly rapture. As soon as she recognizes the Sister she
begins to speak with joyful eagerness.
ANNELE Sister! angels! - Sister Martha! angels! Do
H
know who have been here?
Sister-H'm! are you awake again already?
Hannele - Just guess! do! [Unable to contain herself. ] An-
gels! angels! real angels! angels from heaven, Sister Martha!
Angels, you know, with long wings.
Sister-Well then, if you've had such beautiful dreams
Hannele - There now! She says I dreamt it! But look at
what I've got here; just look at it! [She makes a motion, as
though she held a flower in her hand and were showing it to the
Sister. ]
―
Sister-What is it?
Hannele - Just look at it!
Sister ·H'm!
-
――――――
Hannele - Here it is; look at it!
Sister- Aha!
Hannele - Just smell it.
Sister [pretending to smell a flower]-H'm-lovely!
Hannele - Not so close to it! You'll break the stalk.
Sister-Oh, I'm very sorry. What sort of flower is it?
Hannele - Why, don't you know? The key-of-heaven.
Sister-Is it really?
you
## p. 7028 (#420) ###########################################
7028
GERHART HAUPTMANN
Hannele Why, surely you're - Do bring the light-quick,
-
quick!
Sister [holding up the candle] - Ah yes, now I see it.
Hannele-Isn't it lovely?
Sister-But you're talking a great deal too much. We must
keep quiet now, or the doctor will scold us. And here he has
sent you your medicine. We must take it, as he bids us.
Hannele-O Sister, you're far too much troubled about me!
You don't know what has happened. Do you? do you? —do
tell me, if you know. Who gave me this? Well-the little golden
key? Who? say! What is the little golden key meant to open?
Well?
Sister You'll tell me all about it to-morrow morning. Then,
after a good night's rest, you'll be strong and well.
Hannele-But I am well. [She sits up and puts her feet to
the ground. ] You see, Sister, I'm quite, quite well!
Sister Why, Hannele! No, you mustn't do that, you really
mustn't.
――――
ww
Hannele [rising and pushing the Sister away, makes a few
steps forward. ]-You must let me. You must let me. I must
go. [She starts in terror and gazes fixedly at a certain point. ]
O heavenly Savior!
―
A black-robed and black-winged Angel becomes visible. He is great, strong,
and beautiful, and bears a long serpentine sword, the hilt of which
is draped in black gauze. Grave and silent, he sits beside the stove
and gazes at Hannele calmly and immovably. A white dream-like
light fills the room.
Hannele - Who are you? [No answer. ] Are you an angel?
[No answer. ] Is it to me you come? [No answer. ] I am Han-
nele Mattern. Is it to me you come? [No answer. ]
[Sister Martha has stood by, with folded hands, devoutly and humbly. Now
she moves slowly out of the room. ]
-
as an
Hannele Has God taken the gift of speech from your tongue?
[No answer. ] Are you a friend to me? Do you come
enemy? [No answer. ] Have you a sword in the folds of your
garment? [No answer. ] B-r-r-r! I am cold. Piercing frost
spreads from your wings; cold breathes around you. [No an-
swer. ] Who are you? [No answer. A sudden horror overcomes
her. She turns with a scream as though some one stood behind
her. ] Mother! little mother!
## p. 7029 (#421) ###########################################
GERHART HAUPTMANN
7029
A Figure in the dress of the Sister of Mercy, but younger and more beau-
tiful, with long white pinions, comes in.
it.
Hannele [shrinking close up to the Figure and seizing her hand]
Mother! little mother! there is some one here.
Sister Where?
*
Hannele-There, there!
Sister-Why are you trembling so?
Hannele-I'm frightened!
Sister-Fear nothing; I am with you.
Hannele - My teeth are chattering with terror.
He makes me shudder!
Sister - Do not be frightened; he is your friend.
Hannele - Who is he, mother?
Sister - Do you not know him?
Hannele - Who is he?
――――
Sister-Death.
―――――――
Hannele Death! [She looks for
[She looks for a while at the black Angel
in awe-stricken silence. ] Must it be, then?
Sister-It is the entrance, Hannele.
Hannele - Must every one pass through the entrance?
―――
Sister-Every one.
Hannele-Will you grasp me hard, Death? He is silent.
He makes no answer, mother, to anything I say.
Sister - The words of God are loud within you.
Hannele I have often longed for you from the depths of my
heart; but now I am afraid.
Sister Make you ready.
Hannele To die?
-
――――――――――
I can't help
――――――――
Sister-Yes.
Hannele [after a pause, timidly] - Must I lie in the coffin in
these rags and tatters?
Sister-God will clothe you.
She produces a small silver bell and rings it. Immediately there ap-
pears, moving noiselessly—as do all the succeeding apparitions—a
little humpbacked Village Tailor, carrying over his arm a bridal
gown, veil, and wreath, and in his hands a pair of glass slippers.
He has a comical, halting gait. He bows in silence to the Angel,
then to the Sister, and last and lowest to Hannele.
The Tailor [with a profusion of bows]- Mistress Johanna
Katharina Mattern [he clears his throat], his Serene Highness
## p. 7030 (#422) ###########################################
7030
GERHART HAUPTMANN
your most gracious Father has condescended to order your bridal
dress of me.
Sister [takes the gown from the Tailor and begins to dress
Hannele]-Come, I will put it on for you.
Hannele [in joyful excitement]-Oh, how it rustles!
Sister-White silk, Hannele.
Hannele [looking down in rapture at the gown] - Won't people
be astonished to see me so beautifully dressed in my coffin?
Tailor-Mistress Johanna Katharina Mattern [clears his
throat], the whole village is talking of nothing but [clears his
throat] what good fortune death is bringing you, Mistress Hanna
[clears his throat]. His Serene Highness [clears his throat] your
most gracious Father [clears his throat] has been to the Overseer.
Sister [placing the wreath on Hannele's head] - Now bend thy
head, thou bride of Heaven.
Hannele [quivering with childish joy]-Do you know, Sister
Martha, I'm looking forward so to death.
[All of a sudden she
looks dubiously at the Sister. ] It is you, isn't it?
Sister Yes.
Hannele- You are really Sister Martha? Oh, no! you are my
mother!
Sister-Yes.
Hannele - Are you both?
Sister-The children of heaven are as one in God.
Tailor-If I might be permitted, Princess Hannele! [Kneel
ing before her with the slippers. ] These are the tiniest little slip-
pers in the land. They have all too large feet - Hedwig, and
Agnes, and Lisa, and Martha, and Minna, and Anna, and Kate,
and Greta. [He has put the slippers on her feet. ] They fit, they
fit! The bride is found; Mistress Hannele has the smallest feet.
When you have any further orders Your servant, your serv-
ant! [Goes off, bowing profusely. ]
Hannele - I can scarcely bear to wait, little mother.
Sister-Now you need not take any more medicine.
Hannele-No.
Sister-Now you'll soon be as fresh and sound as a mountain
trout, Hannele! Come now, and lay you down on your death-bed.
[She takes Hannele's hand and leads her gently to the bed, on which Han-
nele lies down. ]
Hannele - At last I shall know what it is to die.
## p. 7031 (#423) ###########################################
GERHART HAUPTMANN
7031
Sister-Yes, you will, Hannele.
Hannele [lying on her back with
holding a flower]-I have a pledge.
Press it close to your breast.
Sister
Hannele [with a renewal of dread, looking shrinkingly towards
the Angel]- Must it be, then?
Sister-It must.
er hands as if they were
[From the far distance are heard the strains of a funeral march. ]
Hannele [listening]- Now they're playing for the burial
Meister Seyfried and the musicians. [The Angel rises. ] Now he
stands up. [The storm without has increased. The Angel moves
slowly and solemnly towards Hannele. ] Now he is coming to
me. O Sister! mother! I can't see you! Where are you? [To
the Angel, imploringly. ] Quick, quick, thou dumb black spirit!
[As though groaning under an insupportable weight. ] It is crush-
ing me-crushing me-like a-like a stone. [The Angel slowly
raises his great sword. ] He's going to-going to-destroy me
utterly. [In an agony of terror. ] Help! help, Sister!
Sister [interposing with dignity between the Angel and Han-
nele, and laying both her hands in an attitude of protection upon
Hannele's heart, speaking loftily, solemnly, and with authority]-
He dare not! I lay my consecrated hands upon thy heart!
――
-
The Black Angel disappears. Silence. The Sister folds her hands and
looks down upon Hannele with a gentle smile: then she becomes ab-
sorbed in thought, and moves her lips in silent prayer. The strains
of the funeral march have in the mean time continued without inter-
ruption. A sound as of many lightly pattering feet is heard. Pres-
ently the figure of the schoolmaster Gottwald appears in the middle
doorway. The funeral march ceases. Gottwald is dressed in black
as though for a funeral, and carries in his hand a bunch of beau-
tiful lilies of the valley. He has reverently taken off his hat, and
while still on the threshold turns to those who follow him, with a
gesture commanding silence. Behind him appear his School-Children
-boys and girls in their best clothes. In obedience to his gesture
they stop their whispering and remain quite silent. They do not vent-
ure to cross the threshold. With solemn mien Gottwald now ap-
proaches the Sister, who is still praying.
Gottwald [in a low voice]-Good-day, Sister Martha!
Sister Mr. Gottwald, God's greeting to you!
Gottwald [looking at Hannele, shakes his head sadly and pity-
ingly] Poor little thing!
## p. 7032 (#424) ###########################################
7032
GERHART HAUPTMANN
Sister-Why are you so sad, Mr. Gottwald?
Gottwald- Because she is dead.
Sister-We will not grieve for that; she has found peace, and
for her sake I am glad.
Gottwald [sighing]-Yes, it is well with her. Now she is
free from all trouble and sorrow.
Sister [sunk in contemplation] - How beautiful she looks as
she lies there.
Gottwald-Yes, beautiful. Now that you are dead, you bloom
forth in all your loveliness!
Sister-God has made her so beautiful because she had faith
in him.
Gottwald-Yes, she had faith and she was good. [He heaves
a deep sigh, opens his hymn-book and looks sadly into it. ]
Sister [also looking into the hymn-book]-We must not mourn.
We must be still and patient.
Gottwald-Ah, my heart is heavy.
Sister Because she is set free?
Gottwald-Because my two flowers are withered.
Sister What flowers?
Gottwald-Two violets here in my book. They are the dead
eyes of my dear Hannele.
Sister-In God's heaven they will bloom again far more
sweetly!
Gottwald-O God! how much longer will our pilgrimage last
through this vale of darkness and of tears? [With a sudden
change, briskly and busily, producing sheets of music. ] What do
you think?
I thought we might begin, here in the house, by
singing the hymn 'Jesus, oh, I trust in thee. '
Sister-Yes, that is a beautiful hymn; and Hannele Mattern's
heart was full of faith.
――――
Gottwald-And then out in the church-yard we will sing
'Set me free. ' [He turns, goes to the school-children, and says:]
Number 62, 'Set me free. ' [He intones softly, beating time:]
"Set me free, oh, set me free,
That I may Jesus see. ”
all
[The children have joined in softly. ] Children, are you
warmly dressed? It will be very cold out in the church-yard.
Come in for a moment. Look at poor little Hannele once more.
[The children crowd in and range themselves solemnly round the
bed. ] Just see how beautiful Death has made the poor little girl!
## p. 7033 (#425) ###########################################
GERHART HAUPTMANN
7933
She ran
Soon she
Here
She was huddled in rags; now she wears silken raiment.
about barefoot; now she has glass slippers on her feet.
will dwell in a golden palace and eat roast meat every day.
she lived on cold potatoes, and often she had not enough of them.
Here you always called her the beggar princess; now she will
soon be a princess in very deed. So if any of you have any-
thing that you want to beg her pardon for, do it now, or she
will tell the dear God all about it, and then it will go ill with
you.
A Little Boy [stepping forward] - Dear Princess Hannele, don't
be angry with me, and don't tell the dear God that I always
called you the beggar princess.
All the Children [in a confused murmur]-We are all so very,
very sorry!
Gottwald-So! Now poor Hannele has already forgiven you.
Now go into the other room and wait for me there.
Sister-Come, I'll take you into the back room, and there I'll
tell you what you must do if you want to become beautiful
angels, as beautiful as Hannele will soon be. [She leads the way;
the children follow her; the door is closed. ]
Gottwald [now alone with Hannele. He lays the flowers at her
feet, with emotion] - Hannele dear, here I've brought you another
bunch of beautiful lilies of the valley. [Kneeling by her bed with
trembling voice. ] Don't quite, quite forget me in your glory!
[He sobs, with his face buried in the folds of her dress. ] It breaks
my heart to part from you.
[Voices are heard; Gottwald rises and covers Hannele with a sheet.
Two
old women, dressed for a funeral, with handkerchiefs and gilt-edged
hymn-books in their hands, enter softly. ]
First Woman [looking around]—I suppose we're the first.
Second Woman-No, the schoolmaster is here already. Good-
day, Mr. Gottwald.
Gottwald-Good-day.
First Woman-Ah, this'll be a sore trouble to you, Mr. Gott-
wald! She was such a good pupil to you; always industrious,
always busy.
Second Woman-Is it true what people are saying? Surely it
can't be true: they say she took her own life.
A Third Woman [who has entered] — That would be a sin
against the Holy Spirit.
## p. 7034 (#426) ###########################################
7034
GERHART HAUPTMANN
Second Woman- A sin against the Holy Ghost.
Third Woman-And the pastor says such a sin can never be
forgiven.
Gottwald-Have you forgotten what the Savior said? “ Suf-
fer the little children to come unto me. "
――――
A Fourth Woman [who has entered]-O good people, good
people, what weather! It's enough to freeze the feet off you! I
only hope the pastor won't be too long about it. The snow is
lying a yard deep in the church-yard.
A Fifth Woman [entering]-The pastor is not going to bury
her, good people! He's going to refuse her consecrated ground.
Pleschke [also appearing]- Have you heard? have you heard?
A grand gentleman has been to see the pastor-has been to see
the pastor-and has told him—yes, told him that Hannla Mat-
tern is a blessed saint.
Hanke [entering hastily] — Do you know what they are bring-
ing? a crystal coffin!
Several Voices-A crystal coffin! - A crystal coffin!
Hanke-O Lord! It must have cost a pretty penny!
Several Voices-A crystal coffin! -A crystal coffin!
Seidel [who has appeared]-We're going to see fine things,
that we are! An angel has passed right through the village, as
tall as a poplar-tree, if you'll believe me. And two others are
sitting by the smithy pond; but they're small, like little children.
The girl was more than a beggar-girl.
Several Voices-The girl was more than a beggar-girl. —
They're bringing a crystal coffin. -
crystal coffin. -An angel has passed through
the village.
Four white-robed Youths carry in a crystal coffin, which they set down near
Hannele's bed. The mourners whisper to each other, full of curi-
osity and astonishment.
Gottwald [raising the sheet a little from Hannele's face] — Look
at the dead child too.
First Woman [peering curiously under the sheet] - Why, her
hair is like gold.
Gottwald [drawing the cloth right away from Hannele, who is
illumined with a pale light]—And she has silken garments and
glass slippers. [All shrink back as though dazzled, with exclama-
tions of the utmost surprise. ]
## p. 7035 (#427) ###########################################
GERHART HAUPTMANN
7035
Several Voices - Ah, how beautiful she is! -Who can it be?
Who can it be? - Little Hannla Mattern? - Hannla Mattern? -
No, I don't believe it!
Pleschke-The girl-the girl-is a-a saint.
[The four youths with tender care lay Hannele in the crystal coffin. ]
Hanke - They say she isn't to be buried at all.
First Woman Her coffin is to be set up in the church.
Second Woman-I believe the girl isn't really dead. She
looks as alive as ever she can be.
Pleschke- Just give me just give me a down feather.
We'll try - we'll try-holding a down feather to her mouth,—
yes, and we'll see - and we'll see if she's still-if she's still
breathing, we will. [They give him a down feather and he
holds it to Hannele's mouth. ] It doesn't stir. The girl is dead!
She hasn't a breath of life in her!
―――――
-
too.
Fourth Woman -
―
--
Third Woman-I'll give her my bunch of rosemary. [She
lays it in the coffin. ]
She can take my bit of lavender with her
―――――
-
Fifth Woman-But where is Mattern?
First Woman - Yes, where is Mattern?
