7

’ ’ It is with pleasure I ackrfidwledge my 1 indebtedness to Professor Cornelius “f ey an d t in in m e fln in téi > g , first , for inspir g in o f or est modern drama , and sec nd , his I W n valuable counsel . ish also to tha k

G . C . C F Professors hild and . E . Schell M r l ing , and . Kar Scholz for helpful sug gestion s .

CONTE NTS

I N TRODU CTI ON

SUB J E CT MA TTE R

ART

T H E PARALLE L PLAY S

Die Web er an d Str ife

D er Biber p elz an d Th e Silver B 0x

H a l m l r n h e es Hi m e f ah t a n d Th e Littl e Dr eam .

’ M ich a el Kr am er a n d A B it 0 L ove

H AP R N I N C TE V . CO C LU S O

B I B LI OGRAP H Y

HA PTMAN N AND O HN GA W RT H GE R RT HAU J LS O Y , A PA A R LLE L .

I .

I N R D I O N T O UCT .

Ioh n Galsworth has unc o nsciously created on the last page Of Th e ~ y Cou n tr y H ou s e a symbol of the relat ionship between Gerhart Hauptmann “ R M r P n d e : o f . e c and himself . Thus he puts it The faces the ector and y

ff a n d were turned up at the same angle , and di erent as those faces figures

n O f o f were in their eter al rivalry type , a sort essential likeness struck her w as with a feeling Of surprise . It as though a single spirit seeking for a

two to body had met with these shapes , and becoming confused decided ”

. on inhabit both The ast ishing thing is , not that a spiritual relationship x e should e ist between them , but that it should xpress itself in singular parallels in their works and their careers .

Th e parallels in their careers take the form of interesting coincidences . F t irst , is the proximity of their ages . Then , is the fact tha , tho each

r has travelled extensively, each has laid the scenes of his wo ks almost

- x n . M t e clusively in his ative country oreover , each is pre occupied wi h

H G D . his native district , auptmann in Sile sia and alsworthy with evon

A s x nearly all o f the few e ceptions are the results of travels , it can readily be seen which countries have had the greatest influence upon them . These

o i n H t o o r few excepti ns are , the case Of aup mann , laid wh lly partly , in 1 2 3 4 5 S G e A G Italy, witzerland , Poland , re ce and merica ; in the case Of als 6 7 8 9 1 0 in G A A . worthy , Italy , Tyrol , ermany , South frica and merica E ach , A t as A . o it should be noticed , h visited Italy and merica lth ugh nei her

r O h etic — H would pose as a prophet , each has written a p p book auptmann ,

1L P r om ethialen l o an d r s eld a s G i . 2 D er A t l pos e . 8 l E ga . ‘ D er B o en d es O sseu s an d r ech s ch er F r u h l n g dy G i i i g . l‘ At l a n ti s . °“ ” A Kn h t in V lla R u b ein a n d O th er Stor es Th e a r k F l ower W n in th e ig i i , D , i d ” “ ” Rocks an d Th e I n n o f T a n u ll t in Th e I n n o Tr an u ll t r q i i y f q i i y . 7“ ” V ll a Ru b ein a n d Th ttl Dr a m i e Li e e . 8 “ ” Th e Sa l at on o f a F o s th e in V lla R a be a a n d Oth er tor ies v i r y i i S . “ ” A W om an in M o tl e A y . 1 ” ” Th e S l en ce in V lla R u b ein an d Oth er Stor es an d Th at Ol d T m e la ce in i i i , i P Th e I n n o Tr a n u ll t f q i i y . I O Ger/t a r t Hau pt m a n n a nd Joh n Gal sw or thy

A tl an ti th T n G Th e M o s before the sinking of e ita ic , alsworthy , b before the outbreak of the present war . E ach is well versed in painting an d

e a f o n . music . E ach is a poet , a nov list , a dr matist inter ational repute

w n n E ach has ritte prose sketches and comments , and an introductio to ’ w another s ork . Hauptmann and Galsworthy are not what might be called popu ” t n lar wri ers . Their work is far above the comprehe sion of the mass of f or . F or people , and much too universal , too tolerant the specialist the

o r e t man who desires mere art , the man who desires m re amusement , hey

n w h o n have a superabunda ce of thought ; for the man desires o ly ideas , ' “ ” t C f iir they are provokingly artis ic . onsequently they write wenige E dle ,

can F who appreciate both their art and their thought . rom this it must not b e ou t o f inferred that either is isolated in some back eddy, the current A t o f Th e th e . n modern life . reverse is nearer truth l ho not chan el break

ar o f ers they e channel makers . E ach is abreast modern development in both thought and technique . E ach is a leader in our renascent drama —“ which is renascent as Galsworthy says n ot because this or that ma n is i ” B H be o f n ew t . writing, but cause a sp ri oth auptmann and Galsworthy e n H emin ntly represent this new spirit , si ce auptmann is the foremost

t o f Ge G O f r drama ist contemporary rmany, as alsworthy is contempora y

E . o f an d ngland This fact , together with the importance drama , the uni versal interest in it at the present time , is the j ustification of the present study . The purpose of this paper is n ot to point ou t merely that this new spirit expresses itself in these tw o m en but more especially that it expresses itsel f similarly in these tw o men ; no t to prove any i n debtedn ess to any

ou t n n O f author or movement , but to point the singular phe ome on paral

' l lism h A e b u t ow . ; not to show why they are alike , they are alike nalysis or critical appraisal of the work Of either author is not here attempted n M rather i terpretative comparison . oreover no claim is made that this study is either exhaustive o r complete . i While both Hauptmann and Galsworthy began to write at the en d of

n n a r . the inetee th century, they e essentially writers of the twentieth This is because they look forward instead of backward or merely a round . The century j ust closed was one of change of incalculable significan ce in all '

— n t i phases Of li fe i dustry , poli cs , religion , ethics , art , due primarily to the P r t development of science . erhaps the g eatest change was wrough by the I n tr od u ction I I

expansion Of the material side o f life . The introduction of improved

u T e x machinery pr Od ced in dustrialism . his made lif more comple and

An intense , and created plutocrats and industrial slaves . accompaniment o f this material expansion was the extension Of the democratic and social b F R spirit , given , as it was , its initial impetus y the rench evolution , and h b M x n S . T e later, acceleration y ar ia ocialism result was to place emphasis upon the individual and his right to political , economic and reli

i u t O f g o s fre edom . Scarcely less important han the material expansion ’ li fe was the mental . I f science changed man s environment and mode of

x n n t O f life , it likewise e te ded his mental horizo , by the introduc ion new ideas in practical ly every field of human endeavor. It made the world

B ut smaller an d created a cosmopolitan spirit . the phase of science that

A in re volutionized all things was the theory of evolution . dopted

H b D in o t philosophy by egel , in biology y arwin , s ciology and e hics by

n n h n Spencer , it uprooted the accepted otio s in the w ole realm of huma knowledge an d necessitated a revaluation of stan dards . Life was no

n o l on ef en d longer static but evolutionary , the individual was g the but a

in o link a great casual chain . B i logy became the study o f heredity a n d R en n n n . n environm t , history, o f social and eco omic co ditio s eligio turned

m n n I n n toward hu a itaria ism . ethics moral sta dards were recognized as x Th f neither fi ed n or final . e latter half o the last century was the battle

ou t o f e n n ew time of these ideas , and this strife b twee the old and the ,

n ew arose life in all activities .

too o f n S t h e Literature , , felt the impress the cha ging pirit , and reflected Th clash of ideas in li fe . e democratic an d social spirit emphasized the

an d z . C on se individual , the scientific spirit emphasi ed the detail

a n d n quently, literature turned more more from pure imaginatio a n d intuition to observation ; hence an increasing tendency toward realism , which culminated toward the end O f the century in what was

A th e o f . t popularly called Naturalism , in the works Zola and his school — same time came a greater realization that the i n dividu al has value since

n— Greater he is a link in a chai by and for himself . emphasis was given

t - - to his right o self development and self expression . The extraordinary

to . C o gave way the ordinary haracter, with its various psych logical man if estatio n s , was studied in relation to social and economic conditions .

n o O f Life was longer conceived as a struggle with fate , or moral guilt , 1 2 Ger h a r t H a u p tm a n n a n d Joh n Gal sw or thy

I n o f W H b u t with heredity and environment . the words ilde , eredity was Nemesis without h er mask the last o f the F ates and the most ” t t nat to terrible . This at i ude urally led the scourging of social and moral evils and the challenging of conventional standards as the basis Of final

t r e r e j udgment . This second phase Of the literary development is bes p

t th e t sen ed by works of Ibsen , altho it had already been forecas ed in the H work of ebbel . The third great historic figure in nineteenth century

l toi on e t literature is TO s . In him finds epi omized a greater spirituality

s n . o . and a deeper e s,e. f brotherly love

e o r t o n n Cont mp ra y authors are , herefore , building grou d already

to t broken . They are trying reveal the organic bond that unites man wi h the universe ; trying t o show that spirit is as real as matter ; trying to dis

o close th e ideal values o i life . One phase f this striving is revealed in ’ “ — M alise s apostrophe to the messenger boy : Ma n of the world product O f a material age ; incapable Of perceiving re ality in the motions of the

\ ” 1 1 A o o spirit , n ther phase is succinctly expressed in these w rds “ In the individual soul t hey saw the reflection Of a social longing and in the individual character the product of the conflict between that

which is and that which is to b e. In their works the individual stands not ” 1 2 f or . merely his age , but for the coming age begotten in his age They

o o to e h u are theref re p inting forward a d eper religious spirit , a broader m an ita r ian ism and tolerance ; a more real sympathy with the disinherited

t m isu n d er O f the social order . I f sympa hy with the disinherited and “ stood was lacking in Ibsen , he nevertheless came to realize that for the

’ f uture the artist s attitude toward life must be not only revelative : it ” 1 3 must be redemptive as well . This attitude toward life has been assumed

H G th o n ot f o r by auptmann and alsworthy, as a conscious e fort with f d . O efinite purpose Yet , that they realize the value art as a redemptive

’ force is indicated by Galsworthy s ow n st atement : Ar t is the one form

n o of human energy which really works for u ion , and destr ys the barriers

e . n betwe n man and man It is the conti ual , unconscious replacement , how “ o f ? ever fleeting, oneself by another

Th F u t Ac 1 e ve t c. . gi i , 3 , S , p 57. F C o a : u a t r i N n ee e t h 1 2 . St es i r m n ter u n th e et n th n u r C a . n e a L e C . J r di G i i y, p ,

1 1 . p . 3 1 3 Ar h b l H n r a c a Th h D . e er son : e C a n n a m . i d d gi g , p 99 1 ” ” V u Th u h 2 a e o t s on Ar in Th e I n n o Tr an u ll t . 8 . g g t f q i i y, p 5 11 .

B M TT SU J E C T A E R .

n — t o n Hauptmann has writte twenty four dramas , an epic , w ovels , two legends for children , two sketches , some poetry and a diary of travel .

o Galsworthy has written ten dramas , eight novels , four bo ks Of sketches

o and commen taries and a book Of poems . In this total v lume Of work — e o . o f the two men are many parallels o f subj ct matter , form and th ught

t — a Sometimes hese parallels are isolated subj ect matter alone , form lone ,

B u t o . or thought al ne . Sometimes they extend thru the entire work in

o four plays there is a complete synthesis of almost parallel matter , f rm

e a r e : Die We ber tr i e D er B ib er elz Th e an d thought . Th se and S f ; p and Silver B ox; H an n el es Him m elf arh r t and Th e Littl e Dr ea m ; M ich ael

’ ’ B i o B o f H G Kr am er and A t 0 L ve . y a survey auptmann s and als

’ s o f worthy s complete work , and a somewhat detailed compari on these

I to th e o f o f four plays , hope indicate parallelism the work the two authors .

H n auptmann divides his dramas i to social , domestic , historic , legendary

n Di ' . Vo o n en au an e r. and symbolic plays The social dramas include S f g g,

Weber - D er B iber J elz D er r ote H ah n F u h r m a n H ens ch el R os e B er n d , / , , , , Die R a tten Das F r ied en es t insam e M en ; the domestic and personal , f , E s ch en C oll e e Cr a m ton M ich ael Kr am er Die u n er n vom B is ch o s , g p , , J gf f b er Ga br iel Sch illin s F l u ch t F l or ian Ge er g, g ; the historic, y ; the leg en d ar Gr is eld a ais er ar l s Geis el Der ar m e H ein r ich Der B o en d es y , , K K , , g O d ss eu s H a'nh el es Him m el ah r t Die ver s un ken e Gl ocke y ; the symbolic , f , ,

’ Sch lu ck u n d J au Un d i a tanzt ! G , P pp alsworthy s plays may be roughly

tr i D fitted into this same classification . S fe like ie Weber deals with the problem Of capital and labor ; Th e Sil ver B ox and Ju s tice like B iber p ele and Der r ote H a h n treat the theme of j ustice ; Th e E l d es t Son like R os e B er nd deals with that o f the fallen girl ; !Th e F u gitive like E ins a m e

M ens ch en C oll e e C r a m ton M ich a el r a m er , g p , K with the unhappy mar r iage ; J0 31 not unlike Die Ju ngfer n vom B is ch ofs b er g with personal love

’ aff airs ; A B it 0 L ove like M icha el Kr am er with persecution o f a misun ‘

d er stood . Th e M ob F l or ian Ge er i man ) like y has a pol tical background , Th i n . e eon but a more personal theme P g , a fa tastic comment on life , may 1 4 Ger h ar t H au ptm a nn and Joh n Gal sw or th y

n u zu T ch l u ck u d J a u n d f . h e be grouped with S , spiel Scherz Schimp

itt Dr e m H a nn el es Himm el ah r L l e a is a symbolic dream play like f t . 1 It is a commonplace Of criticism to poin t out that modern literature treats the common people in their average daily life , that it illuminates the ordi

H G n n . ary daily life about us auptmann and alsworthy are o exceptions , “ ” t a in o if we are careful n o to interpret li fe bout us a t o provincial sense . “ They treat what might be called the average characters of their par

u l B n tic ar localities . y average is not ecessarily meant mediocre or

n on e merely normal , but more especially the ge erality that might meet upon

’ f e e b e a day s travel . Most o the p opl so met will mediocre and normal e not an x but that do s preclude the possibility of meeting , e ceptional char

t B m en R An ac er like ecky Sharp , or such superior as oberts and thony, or Dr o z F d ( Strife) such abnormal people as . Sch l ( rie ) and E manuel “ ” N n i t n c Quint ( . in Nor has average a ything to do with class d s i n n f tio . One class may be superior to a other and yet the members O both “ ” be average . While n either Hauptmann nor Galsworthy has treated the wholerange

h . n a r e of society, each has dealt wit a great many types E ach has a kee pp

i - c ation t oo o f o f . o f on e , , the inter relation class with class Yet class , the

e . I f H patrician , they have made comparativ ly few studies we omit aupt ’ mann s legendary and historical plays we fi nd very few characters belong

B ll ink to W n R t n Ke w el im C . ing this class , von ehrhah ( o e aro ( N . )

H d D n M l u F von e er . V i to n P rau y (Jung . v alleys , en is and ( atric ) , l N in O ffi cial om W d . or d Sir illiam ( E is either especially interested ,

t M a n d Mob F t al ho each gives a few examples , ore Julian ( ) , loyd ( Jus ice) ,

F W Kellwinkel F R John reeland von ehrhahn , , lamm ( ose

m n In the lower and iddle classes both are , however, vitally i terested ,

o f - perhaps because the importance of these classes in the world of to day,

r o because they a r e more familiar with them . The feature which distin guish es the two men in their treatment o f these classes is that they ap

o H pr ach their material from Opposite sides , auptmann from below and h Galsworthy from abo ve . E ach gives emphasis to the group with whic — he is most familiar by virtue of birth a n d training Hauptmann with the

n B G n Silesian peasa ts and erlin populace , and alsworthy with the cou try n house ge try .

von Ka m m ach er l n n K m h K n a n A a . a d n r au h M . d o ot a e t l ( t ) vo t ei ( ic . ) pp r o b e o g l t o th is c ass . Su bject M atter 1 5

Notwithstan ding the fact that the character s are average they are

o as u n not uninterestingly alike . E ach auth r h given us a wonderful and ’ O f th o H usual gallery portraits , auptmann s perhaps shows the greater

e —e n in variety . Charact rs are individualized ve very minor ones Y t n Hauptmann . e they at the same time fall logically into certai groups

’ n e to H t nn G or types . If a distinctio w re be made between aup ma s and als ’ worthy s treatment o f character it would probably be this : that Haupt mann creates individuals that approach very Often to types while Gals worthy creates types that a pproach very Often to individuality . Such a

An d rich gallery of portraits cann ot be adequately described . quite use

ff ff too less is it to name all the di erent types . Social di erences , , make a h f real comparison virtually impossible . T erefore it must su fice to com pare only the most importan t types tha t both depict . — Of the peasant class which Hauptmann treats so abundan tly types like

B i o r th l T . s V r . e the silent Thiel ( B ahn . ) or the pathetic e p t ( S ) o faithfu “ ” Priebe ( F ried ) o r the patient H ilse ( Weber) o r the disciples in Der “ r h r i t x I - N a r in C s a G . n e , alsworthy gives almost no e amples She p Shear ” 1 6 “ ”1 6 nd Th r esh in on e n f a e . ing g, gets faint glimps s into cou try li e The ’ “ ” 1 7 A B it 0 ove in P T Ol d villagers in L , the shepard rogress , ryst h l u d d n am d . x o f n n . St e ( E . S ) are e amples the disappeari g E glish rustics

F on n H n rom the life of Society, the other ha d , auptman draws few

oll e r t pictures . In C eg C amp on we get a glimpse Of the people who are well - to - d o but to whom social life has n o special value either as a pastime

Di u or as an occupation . In e J ngfer n vom B isch ofs ber g he draws a pic

B ut o n ture of the rural gen try . s cial li fe is ot a striking feature ; our interest ce nters m ore in the i n dividu al members o f the household and their guests .

A not n f group that is very important but that merits attention , co sists O

a T D m n . We the fin nciers and a ufacturers hey are reissiger ( ber) , selfish ,

A n ol On F cowardly ; nthony ( Strife) obstinate , pug acious ; old J y ( rat . )

A a ol n d n C . C . a l kindly, masterful ; the materialists , dolf Str hler ( ) Sta ey F To e H ff reeland th se should be added o man , an opportun ist

sacr ifi ed f or who ideals gold .

A l e nother group consists of practica r formers , and includes Martin , the

1 " Th e I n n o Tr a n u ll t f q i i y . 1 "’ A C onu n en ta r y . 1 6 Ger h art H a up tm an n a nd Joh n Gal sw or thy

sanitist ( F rat . ) and the Schmidts Martin agitates a great deal

o th e u n osten ta about what ought to be d ne for the poor , while Schmidts

t V or . tiou sly contribute their services . Lo h ( S ) may be included in this

too F F h V or . group ; perhaps , Clara reeland ( reel ) , Sc immelpfennig ( S ) h t and B oxer ( Rote H . ) w o talk much about improving condi ions but do nothing .

The ministers make up a rather important group . E ach author has ff n o f e . o drawn a umber, very di rent types Yet , with the excepti n of ’ on e n St r an gway ( B . o practically not Of them has a higher conceptio of religion than conformity to rules and externals ; o f real spirituality

- M . they have little or none . Kollin ( E ins . ) is an anti evolutionist ; Kittle

W - M n haus ( eber) a time server ; iller , the prison chaplai ( Justice) , a

l . f d or . hardened soul surgeon ; Latter ( E . S ) a stickler appearances t R B n n e C . H . Spi ta ( atte ) is arrow , trivial but sinc re . arter ( ) is earthly 1 8 F Men a n f in body and spirit . The isher of practices religio O hardness and chastisement .

C on e in m an o uriously enough , character the work of each f rms a class — F F P . by himself the rench vagabond errand ( igeon and Is . Phar ) and F r en ch ifi d Kl m B . O d the e vagabond e t ( Jung . v oth live by picking up d — F Kl m - o r b e t b . j bs e rand y tutoring , and y soldiering and rat catching Notwithstanding their reduced condition economically both maintain a dign ified and condescending attitude when talking to the ir betters . B oth

wa o f m f have a y reducing the to an uncomfortable sense o inferiority .

F o f errand is , course , much better educated and much more of a gentle

Klem t w h o an d man , but perhaps no more of a philosopher , for , asked “ mit r an d ezza : M what he is , answers , G Ich bin ein ann , der das Leben ” versteht . The a rtist or creative thin ker is a type of man emphasized by both

’ I n n . f G r an d in authors a great ma y o alswo thy s works , nearly all of ’ H n n on e 51 1 or auptma s finds an author , artist, mu c an , architect , minister

’ M O f H n . m en physicia ost auptmann s Of this type are artists , tho both t n n C au hors give a number of variatio s . Loth is an i vestigator ; ourtier F x F M H r F . o en eli reeland , alise , ila y rat ) are auth rs ; L on D F M G . n ( ark a sculptor ; Stone ( rat . ) and aurer ( S . profess B o sin n e M R H . G. ors ; y ( of ) , an architect ; Lucy eil ( S . a violin

A F sh e o f Men in A M tl e i r o y . Su bject M atter 1 7 ist ; Young Jolyon ( Mf o f B ianca W ell wyn ( Pigeon ) Harz V C Ma V on Kam m ach er B ( illa Schilling , rampton , artists ; rtin , , oxer , h tr an w a C u t cu tts F . . physicians ; S g y , a minister ; ( reel ) an editor In

tla n tis C oll e e C r a m ton M ich ael Kr a m er Ga br iel Sch il lin s A , g p , and g

Fl u ch t Hauptmann has intro duced whole groups Of a rtists or physicians . Th e use Of artists o r thinkers for chief characters is a device much used

ff f o r nt n by modern writers . It a ords opportunity co rasti g the progressive ti o and radical w ith the conserva ve element in society , and makes m re vivid l the outline of the sensitive idealist leader against the unfee ing inert mass .

e t o G o . e This devic is used some extent by alsw rthy In general , howev r , he makes his characters artists o r thinkers because they are naturally more t i t sensitive than o her people . Somet mes however, the artistic elemen is

t o O e n ot purely decorative . W e feel o ft n that they are temperamentally F x F H H z Y artists but dilettantes . eli reeland , ilary , Lennon , ar and oung — Jolyon have no special calling to art at least we are never given any evi

M o n e - an dence of it . alise impresses as more Of a hack writer th a genius .

l W ellw n B osin n e On y in Stone , y and y do we feel that art is in every fibre . Hauptmann has given us some excellen t analyses O f artistic temperament — M W C A . e C o rampton , rnold and ichael Kramer feel in rampt n and

’ ell n Arnold th e instability O f genius . W wy s weakness is that he cannot H ' n . refuse anyo e a helping hand e is an incorrigible philanthropist , even when he has scarcely anything to give . C rampton is a good artist and a “ n ot His lovable teacher , but he is good at arithmetic and conduct . to A downfall is due the fact that he is an impractical child . rnold Kramer,

t o hypersensi ive because his beautiful soul was housed in a def rmed body , “ felt as Ibsen said in another co nn ection : I alone stood Oppressed by the ” truth o f things - which was his spiritual superiority to those wh o looked

t . H n upon him as a mons rosity Ston e is a visionary , a dreamer like ei

He rich , who is as far from realizing his fraternity as inrich is from plac

’ n t o i g his bell . In j us ice it ought t be said that some of Hauptmann s t — B artis s are artists in name only Lachmann ( Mich . E va urns

M ax a l d Str hler ( Co . probably because we o not see them in suitable environment .

— ii Sil Pald er Of the criminal type we find few examples , Jones ( .

F W ff B n B r (Justice) and rau ol ( iber) must be called crimi als . uno R n e b ( atten ) is the only o that is criminal y character . 1 8 Ger h ar t H au p tm a n n and J oh n Gal sw or th y

In years Hauptmann 's and Galsworthy ’ s characters range from youth

l u t r to o d age . Sing larly enough tho , nei her author draws ve y many young D o . . men . The few they have drawn are erek Ott ( Jung v

M ax a D m en W W . U einhold ( eber) , Str hler, Lennon , ick ( Joy) sually the

are past first youth and have become more or less established in socitey .

B . oth authors treat young girls , young women and elderly women Naturally most o f their women are at the critica l periods of girlhood or

n . young womanhood . O f young girls each author depicts a large umber

’ Hauptmann s a re very diff erent in temperament and so highly individual

z h t P i ed that it is impossible to make a general c aracteriza ion . erhaps the

f H n Vor . most typical O them is ele ( She is innocent , meek , lovable

H er outlook is decidedly limited , her manners crude , but her feelings fine R A n N . a d sensitive . Somewhat like her are uth ( in Ottegebe ( rme

H . H ) and annele . These three are however, so impressionable that they P to a n x . later succumb ecstasy, partly religious , partly se ual erhaps the

- A t H n G C . best drawn , all around girl in auptma n is ertrude rampton l ho

o an d S . she has a good kn wledge of things life , she is not ophisticated

Her character is stable ; her enthusiasm and a ff ection are wholesome .

h e n t S u derstands her father a nd j udges him j ustly . In her maternal a ti

n F r ff tude toward him she remi n ds on e of A n ( Pigeon) . o a di erent rea B u x n . on e . son L ( Ju g v . reminds Of Joy Like her she is somewhat of ’ “ °

n . u x 5 an e fant terrible Joy is j ealous Of her mother s suitor . L say “ W a s e B r au ti am s an nn sie G geh n mich denn E ure g , we einem eschwister ” A n abspenstig mach en l n d like Joy she fin ds understa ding in love . She ’ ’ n n i more tha a y other of Hauptmann s girls is like Galsworthy s . The lat

’ f n h ter s are o ten aive and loving but seldom meek . They ave enthusiasm

n B . n and exubera ce . y virtue of superior education and opportu ities they

’ — or if n n have a better vision at least it is t visio , it is ingenuity enough to 1 9 n Pa sian ce t get what they wa t . wins the day agains her grandfather ,

th o el f ~ su f M . s fi even it costs her life . Jane ( . of P ) is determined and

“

n . D F n n cie t Nell ( ark . ) is a mixture of innocence and aba do . Sylvia D F . F . ( ark ) and Nedda ( reel . ) are less spirited but more sweet and gentle

The women wh o break moral laws probably attract the most attention .

t oo D F They , form a large group . Clare Olive ( ark . ) and

’ others of Galswor thy s women break conventions because they spiritually

M an o f D on i Vill Ru th to e ev . a bein a nd O er S ri s .

20 Ger h ar t H au ptm ann a nd J oh n Gal sw or th y

h t w o . very sensi ive or serious , and people are feeling mental pressure Pal lor is no t a result Of sen sitiveness or seriousne ss b u t is often an accom e pan im n t . One wh o has read Hauptmann and Galsworthy must have been im th pressed by the n umber O f family studies found in e works of each . In

Va r San n en au f ga ng and Das F r ied en f es t the family is part o f the theme .

E insam e M ensch en M ich a el r am er Die u n er n vam B isch o s ber In , K , J gf f g,

Th e F r eel an d s F r a ter n it Th e M an o r o er t Th e E ld es t Son , y, f P p y, , and

h a t cia Ol W t in T e r i n r e . P , it plays a less important hile bo h authors are

t er ested ff t . H in the family , the interest arises from di eren causes aupt

’ ’ G o H t t o . mann s interest seems be biological , and alsw rthy s social aup

Var an nen au an Das F r ied mann is concerned primarily , at least in S f g g, cn s es t ins am e M ens ch en M ich a el r am er t ff o f f , E , and K , wi h the e ects he redity and en vironment upon character . Galsworthy is concerned with showing the variations in type to be foun d in a limited group . It has its

too o f . root , probably in his love painting miniatures Vor Sonn en a u fga ng is the study of the effect Of the sudden acquisition o f wealth upon a peasant family upon whose land coal has been discovered . t Lu xury added o ignorance brings depravity . The family vice is alco

D a F r ied ns s o O f O f o w h holism . s e fe t is the st ry a family neur tics o are

a f r r n mutually intolerable . They have been sep rated o years but retu for

i m M eu Th . n a Christmas reconciliation . e result is almost tragic E sa e s ch en is the first treatment by Hauptmann o f the theme of a man st rug gling between duty and family on the on e side and love and spiritual free

m Vo -ker a s - d o . t e on the other The are sincer , but narrow minded and Th on T n . e s n n x O conservative is radical a d u orthodo . him the arrowness M t of home life becomes intolerable . ichael Kramer , his son and daugh er Hi H . s e . are artists wif is a ausfrau The son , an ugly creature , has h o o . d au genius , but he is misunderst od by father and m ther alike The g

e t ter is a disappoint d masculine woman with tenacity of purpose , but wi h

Die om B out the divine spark . Jungfern v ischofsberg are four orphaned

. o . A t sisters The eldest is s mewhat pensive , the youngest frivolous ga ha

fi n c is burd ened by a sense of duty to her unendurably pedantic a é . Other e th e m mbers of the family , aunt , the uncle and the grandmother are inter

not Th e M an o r o er t esting but important characters . f P p y gives an ex cellen t t o t pic ure of a family c nsisting Of four bro hers . three sisters and the Su bjec t M a tter I

All of children and gran dchildren of two of the brothers . show traces ff m n e . the fa ily strain , but all are exceedingly well di ere tiat d The head ship o f the family assumed by the eldest sister an d the petty j eal ou sies of

The F r a ter n it the brothers are features very well handled . family in y

w h o t O f consists Of two brothers married two sisters , the idealist fa her the

o n e an d . e sisters , the daughter Of sister, others In this case ther is a de

‘ an d cided contrast between the sisters the brothers , one pair is practical ,

ch ar acter is and the other artistic . E ach member Of the family assumes a

o Th e ld es t on Th e a tr i tic attitude toward social reform . In b th E S and P All cian the family consists of man and wife and four or five children . are well drawn but in each case the eldest son a n d the second daughter are

n Th e F r eel an d s Th e M an o Pr o emphasized more tha the others . like f p

r t . e y deals with a large family In this case the family has four branches ,

T s but one branch is stressed especially . his branch compri es the dreamer

Tom . and his independent , sensible wife , and his impetuous children B h H G ‘ ot auptmann and alsworthy have a keen sense of place , not that

er s e t either is interested in place p , but in place as it helps o form a part

to . e o f Of , or a background character E ach has a subtl power conveying

H n the spirit of his native land . auptmann has give us numerous pictures

- cd es a G o f D of his cherish Sil i and alsworthy his favored evon , nowhere

“ ' ” better perhaps than in D er N ar r in Ch r is ta an d The M an of Devon . F rom the former we get not onlythe spirit of the place but also a sense o f W topography . e feel the altitude o f the mountains ; the expanse O f the

n e e country ; the dista ce b tween the villag s ; the poverty, ignorance , super

iti n n st o . r of the peasa ts In the latte , we are in the presence o f the ele

. W e f n e ments feel the spirit o the wi d , the sea , the moor , refl cted chiefly P e . t x c A tl an tis thru Old arse O her e amples Of their sense Of lo ality are , “ ” “ ” Di W r 22 B e eb e V Ru b ein an d R M . ar , illa iding in the ist oth authors e

x o especially careful to specify the e act spot where the acti n takes place . “ “ D as F r ied ens es t Der B ib er elz In f it is bei E rkner in p , irgendwo um ” “ ” “ B Th e Silver B ax R m G J a erlin ; in , ockingha ate ; in y, near the T ” hames above Oxford . Hauptmann further localizes by the use of dia H lect . owever , when the action of their stories is placed in large cities we ar e less likely to feel the spirit Of the place than when the action take s place in villages o r in the country . This is due probably t o th e fact that

22 Th e I nn o Tr an u ll t f q i i y . 22 Ger h ar t H a up tmann and Joh n Ga l swor thy

n u too th each is more fo d Of the r ral life and knows it better , and , to e fact n o f n u a that each relies very much o the use at re as background .

Th e immediate setting in the vast maj ority O f cases is the home . Out

- n x o i door settings are used too , to a co siderable e tent , especially in the ’ novels ; but they figure much less in Galsworthy s plays than in Haupt

’ h n T . mann s . e plays deali g with j ustice have , of course , court settings

th fi u r e —H an n el th e Once e almshouse g s e, twice charity lodging house ” 23 n o Th e I sl and Ph ar is ees and A Simple Tale . O ce each auth r gives a

n n —Di R atten F a t r it A glimpse i to the teneme ts e and r e n y . favorite setting a with Hauptmann is the public inn . This is prob bly due to his personal

l t oo a n o f t know edge of such places . It serves , , as mea s gathering toge her ff G a group o f very di erent people . alsworthy uses this setting only twice ,

’ Th F u iti A B it o e in e g ve and 0 L v . Neither Hauptmann nor Galsworthy selects material f rom the stand “

o f e . point th atrical appeal I f then , they treat sex themes and the special

f o ff case , it is not r the sake of e ect , but because their seriousness and sin

r i x n T ff ce ty must find e pressio . heir inte nse sympathy for human su ering an d the idealism in their outlook compel them to regard every case as f A “ ” a . G o s a n . worthy a he ring alsworthy says , Sincerity b rs out o themes “ n h m an u f They agree with Ibse t at , a shares the respo nsibility and g ilt o H society to which he belongs . en ce they feel with him “ — TO live is to war with fiends That infe st the brain and heart ;

’ To wr ite— to is summon one s self ,

’ ” An d 24 play the j udge s part .

’ While both have played the j udge s part by condemning the social or gan ization f or its failure to leave scope for individual liberty and personal

x not . e pression , they are propagandists , not reformers They Off er no ’ “ ” f o r men T panacea the world s woes , that they leave to practical . hey a re primarily artists deeply pained by the inj ustice and darkness of human i t . d o ff n y In one thing , however , they di er from Ibsen . Ibse emphasi zed th e x B u rights of the individual , often at the e pense of society . t as he

n n H won his grou d , a social co sciousness was awakened . ence contem

’ ’ por a r y writers emphasized n ot the individual s rights so much as society s

” Th e L ttl e M a n a n d O th er a t r es i S i . 2‘ H n d A . e er son : Th Ch an n Dr am 1 e a . . gi g , p 4 Su bject M a tter 23

B u t H n G r es on ~ respon sibility . auptma n and alsworthy measure social p sibility not so much in terms of material comfort as in terms of spiritual ’

n n ot n . M freedom . Society s respo sibility is o ly positive , but negative ate

n on - n rial aid is valuable , but more important is i terference with the indi l ’ vid u a s spiritual freedom .

’ ’ Hauptmann s and Galsworthy s themes may be subsumed un der three ’ headings : ( I ) Man s struggle with a hostile physical en vironment ; ( 2 )

’ ’ Man s struggle to escape social bondage ; an d ( 3 ) Man s struggle with

A h e n o s s . s t t o him elf a matter Of fact themes are , readily placed in the

N n respective groups . aturally environme t , social standards and character are i nextricably conj oined ; so that all these may be found in one story . x I f however , the themes treated are e amined more especially with refer ence to the character of the subj ect matter a better understan ding Of the F r f two . o o work of the men will be secured the sake convenience , then ,

a s n they may be classified social and eco omic , political , domestic and per

n an d m . sonal , huma itarian oral [ ’ l iHere d ity and en viron men t form the basis of practically all Hauptmann s ’ an d G o f o f n alsworthy s work , as they do the work nearly all the moder

n t in . o an o f o f writers I f they are explicit feature , as the case several ’ li it h H an 1m c t e r . auptmann s plays , they form p background to theme t eated

Vor San n enau an D as F r ied ens es t Die Web er Die R a ttan f or in In f g g, f , , , o n in Th e stance , heredity and envir nme t form a part of the action , while

Silver B ox Th e M an o r o er t Th e i eon e , f P p y, P g , they are implied b hind the Ha n n action . uptman emphasizes the harshness of e vironment and the evil

ff e O f of e cts heredity. Some his works are definite studies o f pathological

s ch l zes condition . Such studies are the Krauses , the S o and E manuel

His r in Quint . t eatment of abnormal characters may be due part to his

n to r early i debtedness to Zola , in part the ne vous character of the age , but more especially to his inten se interest in psychological phenomena . In his n n early plays particularly, he showed as great an i terest in the scie tific as

T o m e . in the hu an side of lif his attitude , h wever, he soon outgrew , but

. n o f a r never wholly discarded I f then , alcoholism is the dominant ote V

Son n en au a n in Atl an tis Coll e e Cr a m ton Mich a el Kr am er fg g ; , g p , and , I n tr i Th ilver B ax F r a t r nit . S e e S e it becomes an echo f , , y, likewise it r forms a more o less important part O f the story . That they condemn it ’ n n n goes without sayi g, tho both authors i fer that it is the poor ma s only diversion . 24 Ger ha r t H au ptm a n n and Jah n Gal sw or thy

' Hauptmann s inten se sympathy wi th humanity is best shown in such a

Di e ber H u play as e W . ere class is aligned against class ; the l xury and pleasure o f th e life o f the rich are contrasted with the poverty and b ar r en n ess o f the life o f th e poor ; the inequalities of opportunity are tren ch

an tly expo sed . The ostensible theme is the conflict between capital and

’ l r h o f Ga s t s tr i e . G labor . This is the theme too , y S f alsworthy has ,

a n d o however , raised the problem from a mere bread butter level to that f

n o f economic j ustice , and has give a more balanced presentation the prob

er B iber i Th e il ver B ax t lem . D g g; and S treat again the inequali ies in the ' h n f iC a . li fe o f poo r In these plays , however , the immediate theme is the ‘, D B i er el t o f er b z . ministration j ustice . In p the theme is trea ed humorously The guilty washerwoman escapes punishment while the wronged rich m an

o f O f to is censured , all because the tendency the magistrate burrow and

Th B ox n t magnify . e Silver is a serious i dictment of one j us ice for the t th h o . u s ic e e rich and another for t e , p or J is concerned less with contrast — o f th e rich and the poor than with the system of j ustice the system which

A an t fails to consider the motive as well as the deed . In tl is once again we

fi nd a n oin te l the contrast between rich d poor but less p d v emphasized .

The indulgence an d selfishn ess Of the fi r st - class passengers on the Roland

, o e ff are set over against the p v rty and su erings Of the steerage passengers .

F r a ter nit too t In y , the j uxtaposition of the rich and poor , in their rela ions

o n e o to another , if not in the actual j uxtapositi n o f the handsome resi “ d en ces and the slum attic , where each has a shadow , again forces the

o n ou r inequalities of life up consciousness . The inevitable results of the extremes of wealth and poverty are idle

An d so 1 l i ff t ness and overwork . these have their c a and econom c e ec s .

W o f to Th e hile idleness on the part the poor leads crime , as we see in

Silver B ax on - , it leads the part Of the rich to self indulgence , as in the case

B art h i k c . o Of Jack w ( Sil or the Krauses . Less serious c nsequences

Th e C ou n tr H ou s e are seen in y , in which a man gets entangled with a

o r in Th e I s land h ar is ees S married woman , P , in which helton becomes

t o r Sch l u ck u nd an Sid sel ill ff dissatisfied wi h life , in J , in which su ers from

- . ff ennui Idleness produces , too , indi erence and self complacency as seen “ ”25 F a sh i n Die Ve o . l ber in The other side Of the story is presented in , “ ”26 “ ” 26 “ ” 26 “ Str i e F r a ter n it Atl antis A e F H Pr oces~ f , y, , Old g , ear , oliday,

25 A C om m en tar y . 28 I i b d . Su bject M a tter 25

o f sion . In all these are emphasized the slavery the victims of the sys

O f or r e tem , the barrenness Of their lives even the most trifling pleasure

o n on o f lie f . One Of the m st poig ant , yet unstaged comments this state

O f Zickelm an o on R aff airs is presented in the death the st ker the oland ,

t l u x who dies at his post overcome by the heat , that o hers might travel in

o f o f V on ury . The cheapness life is brought home to us in the words

Kam m ach er d New o f ex , after he has rea in a York newspaper a mine “ o o t : N pl sion and a factory fire , in which hundreds l s their lives ach uns

in tflu t G t die S , die Kohle ist teuer , das etreide ist teuer , der Spiri us , das ” 28 t M B . Petroleum , aber der ensch ist billig wie rombeeren Tha life is cheap is bad enough , but that large families are the means of keeping it

Di Web e o f cheap is terrible indeed . In e r we find a negative statement “

H . : e what Pen d yce ( C . ) puts positively If I could get cottagers to hav

’ ” families like that I shouldn t have much trouble about labor .

e a The plays that hav political themes , or at le st political backgrounds

F l or ian Ge er Th M a b t o f are y and e . . In a sense they are trea ments the

u F n n w h o conflict of the individ al and the mob . loria is a you g knight

H t o o . e espouses the cause of the people would lead them freed m , unity,

F . B u . t j ustice urther, he has the ability he is swept aside by the insensate

’ Th e o o n ot so madness of the mob . c llapse of the pe ple s cause is due much to the desertion from F lorian a s to th e inability and unwillingness

‘ o f the m ob to restrain its mad impetuosity and look beyond the con se

u n H q e ces Of the moment . In this play auptmann has treated history from

H n the modern standpoint of evolution . istory is made ot the outcome of ’ - e one man s leadership but of deep seat d social and economic forces . F a I f lorian has a vision Of freedom , h rmony, j ustice beyond the compre h en sion O f M o o t those about him , so re has a visi n of greater pa riotism ,

o o H t a k bey nd the comprehensi n of those about him . e a tit c s the policy o f “ ” aggression and champions the cause of the little fellow and of an inter national human itarianism .

The mob as a force has been used many times before in literature , but the mob spirit as an expression O f crowd psychology is a modern devel op

m o o ment . This b psych logy has taken a prominent place in modern liter

D . ature . In ie Web er it takes the form Of an outburst against starvation ;

27 Th e I n n o Tr a n u l t f q il i y . ” Atla n t m ‘ s : e m el t r k l 6 . 6 sa e We e V o . . i G , , p 3 3 26 Ger h a r t H au p tm ann and J oh n Gal sw or th y

Atl i Der N ar r in Ch r is ta . an t s in an outburst of religious ecstasy In , it takes the form of a morbid love o f the sensational in the reception of the “ ” 29 armless virtuoso Stoss ; in The Pack of a w olfi sh love o f rending a t vic im . The most vital and persisten t n ote in both Hauptmann and Galsworthy

is th e unhappy marriage and its terrible consequences . It forms the chief

t Mich ael r am er C oll e e Cr am ton ins am e M ensch en Ga br iel heme in K , g p , E ,

’ Sch illin s F l u ch t A tl an tis B ah n war ter h iel F u h r m an n H ensch el Das g , , T , , F r id ens es t Th e M a n o r o er t F u itive Th e C ou n tr H ous e F r a f , f P p y, g , y ,

’ ’ it A B it 0 ov o f H ter n L e. y, In all auptmann s treatments of the problem ,

' x B ah nwar ter h iel F u h r m an H ens ch el ff e cept in T and , the husband su ers

because he is an idealist and his wife is an unsympathetic materialist . In

’ C oll e e Cr a m ton g p , the wife s nagging costs the husband his position and his all ; in Das F r ied enf es t it drive s the wh ole family t o the verge o f mad M i h r am e s n ness ; in c a el K r it ruins the o and causes his death . In Ga br iel Sch illings F lu ch t it is the combined eff orts of the wife and a s t n econd woman , o whom she has drive her husband , to gain his love that

i M n h . ns am e e s c en a brings about his despair and death In E , it is the p

ea r an ce n A a w h o p of a second woma , nn Mahr , opens up a new vision to

V oker at u n , that estranges him from his family and his good , patient but

' B ah n war t r h iel f . e o comprehending wife In T , it is the brutality his wife that drives him to crime and insanity ; in F u h r m an H ens ch el it is her im

t A o h morality that drives him o suicide . less c nspicuous example of t e u to n D t H ah nhappy marriage is be fou d in er r o e n . Parallel cases are

a h r found in A tl n tis and Mic ael K a m er . This state o f aff airs can best be

a G n F the understood by recognizing th t the erma rau , particularly of class “ depicted by Hauptmann is essentially the woman of Kiich e und Kinder ” V oker at a ! o f . stube , as says K the She has little understanding of an idea , “ o r a n d sympathy with art . She is strong thru the narrowness intensity

m a Of her elemental aims , destroying n, the thinker and dreamer, whose i w ll , dissipated in a hundred ideal purposes , goes unde r in the unequal ” 3 ° struggle . Galsw orthy in presenting the case o f th e u n happy marriage in nearly n f every i stance takes the side of the woman . The woman su fers because

” A M otl e y . ” L . Lew soh n : I n t r o u ct on t o r a ma t c Wor k o er h a r t H au tm a n i d i D i s f G p n .

28 Ger h ar t H a up tm a n n a nd J oh n Gal sw or th y

n o n o the romanticist s . They draw such glowi g love scenes as th se found

Th e F or es t over s t S . N o r in L , or such colorless ones as hose found in cott

o is love w ith them a sexual passion only . They see it in the c mbined

o . higher light of science and universal brotherho d Love , in its various

e t o n . aspects , is a phenom non to be examined and repor ed faithfully

Hence they treat it from several points of view . The first of these is t that love is a tyrant against which th e victim is helpless . This at itude

Kais er Kar ls Geis el Ga br iel ch illin s F l u ch t Th e is represented in , S g and ’ ar k F l ow r Ge r su in d s th e on e o D e . love for Karl is c nsuming interest

- T An d to . o in her life . it is this which leads her self abandonment Len n on love is the dark flowe r whose perfume carries him beyond self - con

T n . trol . O Schilli g love is a consuming fire from which he canot escape

o In his case , however, it is not his love that consumes him , but l ve of him f by two women that sears him body and soul . E ach O these works is a

Th e Dar k F l ow er s study of passion , being an analy is of passion at three f am nan ld t O s es . O cri ical periods in the life the Karl , being an man , survives t o t t S the at ack , Lenn n escapes wice thru ex ernal circumstances , but chilling M ’ t succumbs . an s struggle with his tyrant is best expressed in the words of

: W er W ! a M Maurer hat nicht mit eibern Zeit verloren J , welcher ann , t s m W der wirklich einer ist , hat sich nich elbst mehr als ein al an eiber

Da t n ich t s l M a n lasz o . s t verl ren schade sich fallen , man hebt sich au f ,

fi n t H a z a n d d e w . d s man verliert sich man sich ieder auptsache bleibt , R a' R man ichtung beh lt . Wenn man ichtung behalt und entschlossen fort e tt wa s eh eiszen l bt , so we e ich tausend gegen eins , schlecht g hat in der

Zeit , must dann in der Zeit auch wieder mal gut

n The most potent manifestatio of love in the work Of these two authors ,

o t o t . after l ve as a yrant , is the l ve thirs in the human heart This is the

H W H n e w t phase found in annele . hile an ele has Of course , been smitt n i h

n ot H er the schoolmaster , her desire for love is wholly sexual . longing for a kind and charitable frien d h as only i ntensified her love f o r Gott w an A t r an w a o d . s ald , her religious enthusiasm rnold Kramer and S g y

e t th e intens ly long for love , both in the concre e and the abstract , both in

o o f n w in d form Of w man and frie ds , that each cuts a figure hich its lu i cr ou sn ess M t is sublimely pathetic . ost pa hetic too , is the figure Of the

d F r a ter n it wh o H mo el in y, finds in ilary the one oasis in the desert of

“ a l l h F u A I . briel Sch n s l c t ct . G i i g , , p 37 Su bject M a tter 29

the loneliness and barrenness of life . Perhaps nowhere is love thirst “ M ” 3 4 more tragically represented than in Once ore , in which the slaking of the love thirst is more tragic than the thirst itself . That th e love thirst in the human soul is what Plato called a form of the soul ’ s craving for beauty finds corroboration in the work of these two men . This shows itself in the power of love to redeem spiritually lost souls and to reconcile them to an ugly and un sympathetic world . It is love

H n that restores arme ei rich to life , health , position , serenity of mind ’ W and harmony with the universe . It is Ida s love that saves ilhelm

t a C ( F ried) from utter collapse . It is filial love h t rescues rampton from ’

e o . almost certain ruin . Love mak s Joy understand her m ther It s love — that mak es the world all beauti ful makes it like those pictures that seem

o — n o — to be wrapped in g ld , makes it like a dream , not like a dream like 3 5 N . a wonderful tune . Thus wrote edda in her diary

e If love redeems , it does so chiefly thru sacrific . The best illustration of this is Ottegebe to whom love made even death sweet . The purer and m W ellw n ore altruistic the love the greater the sacrifice . y ( Pigeon) sac r ifi ces n ou t himself to help derelicts , ot so much because he wilfully sets to e b friend downtrodden humanity, but because deep sympathy with su f f er in h h t f g impels him . Those w o ave the rue spirit o brotherly love are

an d . usually misunderstood , even persecuted Tho , die menschenliebe ” 3 6 ’ an t r an w a w h o nagte ihm , Quint went to an outcast s grave . S g y, strove “ to T l practice universal love , nearly lost his li fe . he O d m an in A Simple T ” ale , who befriended his poor comrades an d asked o f the rich only “ ” let me rest in your doorway l received the usual reward for his pains . F rom a love of humanity to a love Of animals and flowers is but on e

n e Gr ieseld a . n step , almost an i evitable st p is a maid Of earth , a companio

Of the flowers . E manuel Quint has not only human followers ; swans and t 3 7 oo m . M dogs , recognize him as aster ichael Kramer loves his poplars .

’ St r an wa fi 3 8 . h g y loves birds Shelton stops a dog g t . Stone s brotherhoo d

n ot t D r includes only men , but birds and animals ; they too are bro hers . e “ A M u n d F b r iid er lich zu postel liebte die ucken liegen , und tOten

“ A M ot l e y . 8“ ' Th F r e l n d Ch a ! e e a s . , p . I a" D er N ar r in Ch r is t a esa m m el t cr k V l h e W e o . C a . ; G , 5, p 3 . 37I b h a . 2 1 . C id , p . “ Th I l h e s a n ar s ees Ch a ! I . d P i , p . 30 Ger h ar t H au ptm an n and Jah n Gal sw or th y

schien ihm das schwe rste aller V erbrechen E r selbst pflu ckte niemals

R n h zu V eilchen Oder ose , um sic damit schmucken er wollte alles an ” 9 ’ 3 th n . C o s o seinem Ort ompare too , L attack hunting with passages in Th e C ou n tr y H ous e and Th e I sl an d Ph ar is ees ; and the vegetarianism o f B H n va B Der A . u t n Sto e , E urns and postel a yone who doubts aupt

’ ’ mann s and Galsworthy s love O f animals an d flowers should read “ ”4 0 “ ”4 1 “ Gr iech isch er F r iih lin an d M o A F or g em ries , potheosis , Love of B ”4 2 easts . F rom what has been said o f love as a tyrant it will be seen that both

n n authors treat the dual eleme ts in human ature , the conflict between the

I n H n higher and the lower . auptma n the struggle usually takes the form Jo f a conflict between the ideal aspiration o f the individual a n d his mate Th e O f n Die ver rial environment . best treatment this phase is give in

u n k l ke u in s ene G ac . The d al element expressed a wholly material way

’ Th S Th is f ound in E lga . e piritual form is expressed in Galsworthy s e

ittl e Dr eam in L , which represents allegorically this struggle every soul ; “ h ” 4 3 n T e M H . and to some exte t , in agpie Over the ill ’ ’ O n e o f the most important o f Hauptmann s an d Galsworthy s themes is

- - x c n n n . the e posure Of selfishness , hypo risy, arrow mi ded self complace cy in n o f This theme is never pronounced , it lurks rather the relatio s the

’ characters to each other and the attitudes they assume toward the life s

’ - k n problems . It is the gossip o f the n ear sighted V o er at s that is their so s M h n . r s . w o undoi g It is the depraved , inebriated Krause thinks the 44 h m r ki n . c w a ow s o f miners dri k too much S , a pillar the church makes 4 n n Da l h 5 mo ey thru ince diarism . c ow by overwork drive s his son to

n B n suicide , and havi g ruined girls , publicly condemns them . Keil and er d

b R n y their sanctimoniousness drive ose to destructio . Pastor Spitta by — D his provincial narrow min dedness drives his children from home . reis siger considers himself a philanthropist because he takes on two hundred

n T more weavers at starvatio wages . ryst goes to his death because the “ ” M all or in s n tr an w a f ou t o f g have a high se se of morality . S g y is orced

”

D r A a t l 8 . e p s e , p . 4 “ Th e I n n o T a n u ll t f r q i i y . 41 A M o tl ey . “ A h ea S f . 43 Th e I n n Tr a n u ll t of q i i y . “ D r H h e r a te a n . “ I I b Act I . id, Su bject M atter 3 1 his positio n because the villagers con sider that he is san ction i ng im

Pen d ce son s h e morality . y would disinherit his becau e has dared to soil C n his name . Sir William heshire forces his depe dent to marry the girl

l r M s . son . he has seduced , but refuses to let his make simi ar amends B ar th wick would have Jones incarcerated as a dangerous person but fails f or to see the same fault in her son . C hief among the sticklers the letter o f morality in con tradiction to its spirit are the n umerous min isters foun d

’ ’ As h in Hauptmann s and Galsworthy s pages . these ave been mentioned

n o n n earlier in the chapter further comme t is ecessary here . This satisfaction with the letter o r for m o f things to the neglect o f the

n I n spirit is f urther indicated in their satires on education a d reform . C oll ege Cr am p ton the college that is run on principles of business and A a to . ct rules instead of bility and freedom , is held up ridicule In III of

Die u n er n vam B is ch o s ber n t J gf f g, the colloquy among the egotistic peda N o Griinw ald o ast , the cosmop litan adventurer , the budding p et Otto , and

Ac Ge n m o f a n . t Kozakiewicz , is a satire on the rma syste higher educ tio In o f Th e i eon a s II P g , is a similar satire on the v rious method Of reforming “ n B H n derelicts . Cano ertley would have them brace up Justice oxto “ ” e P C would give them a sharp l sson and the theorist , rofessor alway “ m n would improve the by steady co trol . Only W ellwyn thi n ks of per

n so al help .

’ Things literary an d dramatic come in for a sh are of each author s satire .

P h n er aps it would be more correct to say things u literary , since it is the “ ” “ an a 4 ugly d convention l that rouse their ire . The V oice of is a on f satire the vulgarity and baseness O a certain vaudeville stunt . This “ ” B A stunt is a virtual blasphemy against eauty . lmost as repellant is the

t a i 4 7 m l A l n t s . t a r es o feature described in S oss , the vi linist , thrills his audi ’ “ ” n n Av M e ce by playi g Gounod s e aria with his toes . Inasmuch as he is

R to sen tim n a survivor of the oland , the emotion o f the audience rises a e

- V n Kam m a h r tal , religious fervor which makes o c e shudder . Chapter I V Of Th e I sl an d Ph ar is ees 1 s a satire on the co nvention al play and the “ ”4 8 M a n G popular audience . In The Plain , alsworthy gibe s the person 4 9 w h o Th e M an o r o er t insists on a happy ending , and in f P p y, the readers

h t r Th e Little M a n a n d O t er Sa i es . 6 k l . esa m m elte Wer e V o . . G , , p 343 r Th e Littl e M a n a n d O th er Sa ti es . ” Th e M a n o r o er t . an d . f P p y, pp 3 5 77 3 32 Ger h ar t H au ptm an n a n d J oh n Gal sw or th y

n h n H n n o f th e stereotyped n ovels . O t e other h a d auptma satirizes the conventional stage m an ager an d actor in th e pompous Ha ssen r eu ter ( Rat

t ten ) . 2" A! e: A l A peculizfityEm work o f Soth en is the tendency to repeat th e

a nd same situation characters . W e h ave seen already how Often Haupt

’ mann repeats th e situation of the u n sympathetic wi f e s being a hinderan ce to an idealistic husband and how often Galsworthy repeats that o f th e

n woman who cannot love her husba d . No less than thirteen times does

H n u s h n U m an auptman e w at is called the eternal tria gle . sually it is a T i n two . e e n E l a R os e B er n d D e drawn betwee women h xceptio s are g , , Ju ngfer n vom B isch ofs ber g an d Und Pipp a tanzt ! in the last of which

Th e M r o t T F u t e . an o P er h e i ive an d the struggl is symbolic Only in f p y, g

Th e Dar k F l ower G i e does alsworthy use the tr angl , altho it Often develops

o f out the unhappy marriage that he so frequently treats . One Of his “ ” o f n u s tic M variations is that the brutal husba d , used in J e, Once ore , “ ” 50 “ ” 5 1 M Dee D -s a n d F r a ter nit iller of , emo , y .

e a D ar i E ach author works over mat ri l he has previously used . er N r n

Ch ris to D er A as tel F u h r m an H ensch el B arh n is an enlargement of p , of war ter h i l h Pa sian ce T e . June and grandfat er parallel and her grand ’ V on Kam m ach er s h k r a Th e father ; home life parallels t at of V o e t . dying

in B a h nwiir ter Thiel F u h r m a n H ens ch el D er r ote H ah n wife figures , and . B x H The seafaring physician o er ( rote . ) is paralleled in W ilhelm ( At

V n Kam m a h r F W ff o c e . G n lantis ) and rau ol , lase app , Leontine and V an W ehrhahn appear in both D er B iber p elz and Der r ote H ah n ; Golish ap pears in Var Son n en au fgang and R os e B er nd ; Swithin F o rsythe in Sal ” F an d Th e M an o r o er t F Th e i eon vation o f a orsythe f P p y; errand in P g , “ ” “ ” 5 Th e I lan d h ar is e s A T 2 s e a n . R P , Simple le and Compe sation asmus sen figures in Ga br iel Sch ill ings F l u ch t an d Atlan tis ; Nicholas T r eff r ey “ ” “ ” V Rub ein Th e Man D P ol on in illa , and Of evon ; ippin , Old J y and “ ” H in Th e Th A emmings Silence and e Ma n of P r op er ty . uthors before now have repeated situa tions and characters but few have had the daring to give the characters the same names , or the ability to play such varia

n n T tio s upon the same situatio . hey please not by creating the new but by varying the Old . Su bject M a tter 33

t o to t The romanticist uses symbols build up a mood , the realist crea e ’ ’ H n Ga in an inte llectual con cept . auptma n s and lsworthy s symbols are

Th m a almost every case used in the latter way . e intellectual concept y

b to be produced y proceeding from the abstract the concrete , or from the

A an of concrete to the abstract . s illustration the first we may take

’ ’ H n i a ta nzt ! an d G Th ittle Dr eam Th e auptmann s U d P pp alsworthy s e L .

n idea that all men pursue an ideal is made co crete thru real characters .

h t n th e T e idea that all men wave r be wee the good and bad , between one

a extreme and another is made concrete thru real and llegorical characters .

t Die R otten an d Th e Dar k F l ower The lat er method may be illustrated by .

o f o f . E ach these is a complete , concrete study real people Yet the choice of the particular titles and the repeated references to rats and dark flowers F create in the mind an abstract idea . rom this it must not be inferred that I these are the methods pursued by the authors in creating their works . t merely explains the proc ess o f thought that takes place in the mind of tlie

Th m a . e be reader symbols y absolute , psychological , that is , related to the D l o f . e er v r psycho ogy the characters , or decorative If for exampl , e s u n ken e Gl acke is interpreted as a representation o f what passes in Hein ’ R u t n l i a e d e e n . I f n o in rich s mind , then is his conception of nature it is t ter r eted h n o f Rau ten d el ein n p as a dream , t e course , becomes a absolute — symbol of n ature absolute in the sen se that sh e is n ot a decoration but an

r f t n integral pa t o the play . Similarly are o be co sidered the characters

Un d i tanzt ! Th e ittl e D a a r e m . Of P pp and L In these plays , in which the m o f t sy bolism is primary importance , the whole play and its par s are

. B u t aiser ar ls Geisel m symbolic in plays like K K , the sy bolism is sec on d ar n y a d not indispen sable .

e Most o f the symbols , both psychological and d corative , are much more

n Th e . e f or in obvious and l ss dependent upo interpretation cowslip , ’ n h im m el sch liissel o f Han n el e s n sta ce , the , is the symbol me tal himmel ’ A H n ot fahrt . rme einrich s leprosy is a symbol , so much of his physical

’ r i s lda s condition as o f his mental . G e e patience and the impulse that insti nctively draws her to her child ( Scene ! ) are intimately related to

n O n n of . n her i ner being the other ha d the faithfulness the spa iel John , “ P n is a decorative symbol o f subservie ncy to e d yce . Th e phrase Bloody ” W Th Justice ( eber) is a decorative symbol of coming vengeance . e hawk

Th e Dar k F l ower P m ath s in P and rabbit in , art I , the art II , and Ingi 34 Ger h a r t H au ptm an n an d Jah n Gal sw or thy

’ gerd s dance in Atlan tis are n ot intimately related to the psychology o f the

R o An no characters . ather they parallel the relati ns of na and Len n , Olive

Kam m a h r Th t A I n i er d Von c e . e o and Lennon , and g g and reference bra ham and Isaac in Der ar m e H ein r ich calls attention to the relation between “ Th e n Th Heinrich and Ottegebe and the idea of sacrifice . expressio e fire ” 5 3 o . A a is out in F l or ian, Geyer is similarly dec rative s an inst nce of the combination O f the two kin ds O f symbols we m ay take the situation at the ’ “ n h r h ah n n im e nd o f vo W e s grandiloquent speech , when the conge ital A . s beeile brays like an ass a humorous comment on the justice , the bray

on f . ing is decorative , as a sad comment the boy himsel it is psychological

D r H r A H . e Ge nother example is the term , der rote ahn rote ahn is the man symbol for incendiarism . It is also used by Hauptmann in connec t w o . tion with the weather vane . In these senses the term is decorative B u t inasmuch as incendiarism and the weather vane are closely linked with

o f F W o ff o the machinations rau l , it becomes a psych logical symbol , par ’ i r ff H s m t cu l a ly as F rau Wol dies just as the van e is put up . auptmann s v

’ b Ol s G . H are generally psychological , alsworthy s decorative auptmann uses many more than does Galsworthy and with much greater variety .

No e matter how great the intellectual el ment , all symbols help to produce

to x . a mood and are therefore , that e tent , romantic

H G n . C t auptmann and alsworthy are great lovers Of ature onsequen ly ,

Ol n n n r e t . ature plays an importa t in early all they have wri ten Of course ,

in u n d r am m atic it figures most their works , but is seldom wholly absent . f t Their chief use o it is o create atmosphere . This they d o very often by B making the mood of nature parallel the event . y this means they create “ ” 5 5 in . A a sense , a symbol o f the event itself Take for example , Parting , f or th e f t which a d reary autumn day forms background , or the end O Par

Th e Da r k F l ow er I of , which has as an accompaniment wild , elemental A A 66 n t an d o . ature . storm precedes the breach be ween ntonia Shelt n

Th e o l ot s th th 5 7 w b o and e moon gleams while Quint visits e graveyard . The moonlight shines in the window O f the almshouse j ust as Hannele

Ho . w begins her himmelfahrt appropriate too , is the autumn setting for

53 E n d o f Act I II . l" D er t A r o e H a h n , ct I I I . “ A M tl o ey . t” Th e I s lan h a r s ee h 1 s C a . d P i , p . 3 “ D er N a r in h 1 ta h a . 2 r C r s C . i , p

36 Ger h ar t H au p tm a n n an d J oh n Gal sw or thy the air was void of sound it was full of scent Large wine - red violets ff T e . O n o e n n n were growing n ar such a cli might he critus hav lain , spi i g

An his songs ; on that divine sea Odysseus should have passed . d we f elt ”62 - that presently the goat god must put his head forth from behin d a rock .

T n H n his passage serves also , to call atte tion to the fact that auptman

a . N and Galsworthy take tow rd nature a positive , optimistic attitude ature

f n o f n f is not the symbol o disintegratio ; it is a symbol generatio , o bud h N to . n t A ding beauty . either is it antagonistic man E ve e storm in t i N t . T l an t s is not a diabolical force o nature but m an is at fault . hey t M feel the mystical bond between man and nature , and agree wi h ichael ’ “ Kramer s thought : Das drangt sich zur E inheit iib er all und uber u ns ”63 liegt doch der F luch der Zerstreuung . That very idea is symbolically n H n an d Ra u ten d el in represe ted in ei rich e .

” T n u ll in h a u l I n n o f a t T e I n n o Tr n l t . r q i i y f q i i y, p 4. “

M h a el K m er Ac I V . 1 2 c r a t . i , , p 4 Galsworthy is Often described as a realist o r satirist who has made in Th e Littl e D r eam a momentary excursion into romance ; Hauptmann as

n n and a naturalist who has deserted aturalism for idealism , roma ce sym i m B n f n . o bo l s . oth have bee dubbed pessimists Is this an actual stateme t the case ? What do the se terms really sign ify and how ar e they related to each other ? It is not the function Of this study to go into an explanatio n fi of these hackneye d and much misused terms . Suf ce it to say that the I disti n ctions glibly made and accepted do n ot here apply . f we mean by

f or of t n Ga satirist one who distorts the truth the sake the ideal , he ls

n t n b l on e h worthy is o a satirist . If we mea y idea ist w o pictures the world

a n be n H an . as it should , the auptmann is not idealist I f we me n by atural — “ ist what Sologub mean s on e wh o describes lif e from the standpoint of ” u b n Ha trnan n o n . material satisfaction , the p is t a aturalist I f y realist

on e l e n G we mean who pictures the wor d m rely as it is , the alsworthy is

h n n no realist . Surely some term th at will compre e d more tha mere sub j ect matter and treatmen t is n eeded to explain the work of these two m en . “ This is aff orded by Galsworthy himself in his Vague Thoughts on

F or of f n o n the purpose this study, there ore , we can do better tha to

n accept his definitio s in their entirety . “ “ R ? W . n 0 1 hat , he says , is ealism Is it descriptive of tech ique , 5 o f n ? descriptive the spirit of the artist ; or both , or either

. a n to the words realism , re listic have no longer refere ce technique ,

n Nor for which the words aturalism , naturalistic , serve far better . have — they to do with the question of imaginative power as much demanded by

a b n . F or n o n e to n re lism as y roma ticism me , a realist is by mea s ti d atu r alistic n - h e n n tech ique may be poetic , idealistic , fa tastic , impressio istic ,

n — m f ar n a ything but ro antic ; that in so as he is a realist, he can ot be . Th e f z e r eoc word , in act , characteri es that artist whose temperam ntal p cu ation n u - l o f h p is with revelatio o f the act al inter re ating spirit life , c ar

“ Th I n Tr n u ll e n of a q i ity . 38 Ger h a r t H a u ptm a n n an d J oh n Galsw or thy

enli h ten acter and thought , with a view to g himself and others ; as dis

t r c tem tingu ish ed from hat a tist . . whom I all romantic whose per am en tal purpose is i n vention Of tale o r design with a view to d eligh t

n n himself an d others . It is a question of temperamental a tecede t motive in and the artist , nothing more .

R R ! — D ! a ealist . . omanticist E nlightenment elight That is the true p

TO n—to - ! An d position . make a revelatio tell a fairy tale either of these — artists may use what form he likes naturalistic , fantastic , poetic , impres i i s on ist c . F or n ot d O f it is by the form , but the purpose and moo his art

n h that he shall be kn own as o e or as t eother . — ’ To paraphrase him further the realist s mood is one of broo ding over

o f e o f life, contemplating its spiritual adv ntures , making clear the vary

o f n ing traits and emotions huma character, and the varying moods of nature . I f we apply this test to the work of Hauptmann an d Galsworthy we

m en h n discover that both are realists , that is , bot have the temperame tal — purpose to enlighten rather than to delight altho to delight themselves

e . B and others is not incompatible with enlight ning oth brood over life , S k contemplate its piritual adventures , ma e clear the varying traits and B emotions of human character , and the varying moo ds Of nature . oth B o . p int out moral values and see the irony in things oth are idealists ,

— B u f or they have a vision o f an ideal o f life and beauty . t before every

a r e to B ar thing else they artists trying represent life as they see it . oth e T H seeking the truth , material and spiritual . J hat is why uneker calls “ ” “ H n n an d G t auptmann a tra sce dental realist , Skemp calls alswor hy an idealist with a passion for the actual . This is the explan ation o f what is commonly regarded as an anomaly in

n tou r d or c the work of Hauptman and as a e f e in the work of Galsworthy . B oth men illustrate the truth of th e fact that the idealistic and naturalistic

n o f n eleme ts , instead bei g diametrically opposed are not only compatible T H G but complementary . hat is why auptmann and alsworthy have writ ten such very diff erent plays as Vor Son n ena uf gang and Und Pipp a tan zt !

l D a m R a nd tr i e Th e itt e r e . SO S f and L arely, however , are these elements T d elicately balan ce d as in Hauptmann . hat this view is j ustified is proved

m l S by the fact that symbolis is on y another ide of naturalism .

G h as n t f O f alsworthy recog ized his two old tendency modern drama , Ar t 39

Th while Hauptman n has abundantly contributed to it . e renascent drama

' “ Galsworthy says will in coming years follow these two channels . The one will be the broad and clear - cut channel Of naturalism down which will

b u t come a drama poign antly shaped and inspired with high intention ,

n a faithful to the seething a d multiple life around us , dr ma such as some

r t o f a e inclined o term photographic , deceived by a seeming simplicity the

‘ ’ to old proverb ars est celare artem and oblivious of the fact that be vital ,

in on con to grip , such drama is every respect as dependent imagination , — elim in ation w th e n struction , selection , and mai laws Of artistry as ever was the romantic or rhapsodic play . . The other will , I think ,

an d be a twisting delicious stream , which will bear on its breast new

n barques Of poetry, shaped , it may be , like prose , but prose i carnating

n n thru its fantasy and symbolism all the deeper aspiratio s , yearni g , doubts , and mysterious stirrings o f the human spirit ; a poetic prose

it f inven drama , emotionalizing us by s diversity and purity of orm and

n to th e e o f tio , and whose province will be disclose el mental soul man and

o f n ot d iscl oséd the forces nature , perhaps as the old tragedies them , not th f necessarily in e epic mood , but always with beauty and in the spirit o ” 65 discovery . T x b e . hat art is the e pression of a personality , is r cognized y both authors

n H h a s n h i I deed , auptmann used these ide tical words in his preface to s “ ” “ Ar t o . G x collected works , says alsworthy, is the perfected e pressi n of ” t 66 T self in contact wi h the world . his latter idea Hauptmann puts in a sil h tl ff : W a s D e n g y di erent form ware ein icht r , desse Wesen nicht der ” 67 A Vo lkseel e ist l n gesteigerte usdruck der Their co ceptions of art , it i M n n a . e e will be noticed , are esse ti l agreement oreover they agr e in pra tice . The most naturalistic plays of Hauptmann reveal behind them a

a e th e o f definite temper m nt , and most symbolic his plays , the careful Oh s n O f an d o a T ervatio fundamental permanent elements f human n ture . his

in old n to was reality his purpose in using lege ds , interpret them accord in to g modern psychology . W e n hile both authors see the world thru a temp rame t , they do not dis

r N tort the truth either by selection o omission . either do they spoil their

“ “ l at tu es con cern n D a ma in Th e I n n o Tr a n u l l t 2 P i d i g r f q i i y , P 77 ”“ ” V a e Th u h o Ar n T Tr u i t i h I nn n ll t . 2 u o s n t e o a . g g f q i y. p 77 " r h is ch F il h l in 1 0 ec er r . . G i g, p 3 40 Ger h ar t Hau ptm an n and J oh n Gal sw or thy

A a works by subj ectivity . S dramatists they recogn ize that a pl y must have

t . G obj ectivi y , inevitability and no immediate moral Moral codes , says als M t f . worthy, do not las , but a true picture of li e does oreover , a true

e n story, if told sincerely, is the strong st moral argume t that can be put upon the stage .

t n o t n Obj ectivi y , inevitability and immediate moral are best a tai ed thru “ ar t t o m naturalistic , which is like a steady lamp held up from time ti e , in

f o r o whose light things are seen a space clearly and in due prop rtion , ”68 “ A N ’ AI freed from the mists Of pre j udice and partisanship . ovelist s ” 69 l o r eg y is an artistic expression of the same thought . The dominant modern drama deals with ordinary people struggling with

n n their environment . The protago ist Of a modern drama is ot beset by H b n . e enemies but y the limitatio s Of his life ence , the int rest centers not so much in what he does as in what he thinks and feel s ; not SO much in

H in action , but as auptmann says , the psychological state which causes the

. H n action This means that action is giving way to being . auptman him m self cha pions this conception of drama . In the preface to his collected 0 7 o works he has succinctly stated his p int Of view . “ A D A zu r u A D n in llem enken liegt nschauung g nde . uch ist das enke e R : . e i ingen also dramatisch Jeder Philosoph , der das Syst m seiner log n er r ich schen Konstruktionen vor uns hinstellt , hat es aus E ntscheidu gen

d en n nn n ff n tet , die er in Parteistreitigkeiten der Stimmen sei es I er getro e hat : demnach halte ich das Drama f iir d en Ausdruck u r sp r un glich er

Denktati keit o h ne d asz n t g , auf h her E ntwicklungsstufe , freilic Oh j ene E

n ff n P scheidunge getro en werde , auf die es dem hilosophen ankommt . “ Au s An sch au u n sar t R von F o n dieser g ergeben sich eihen lgerunge , die

‘ das Gebiet des Dramas uber das der herrschen den Dr am atu rgieen n ach r d asz S au sser en allen Seiten hin unendlich e weitern , so nichts , was ich dem n von D Oder innere Sinn darbietet , dieser enkform , die zur Kunstform ” hn geworden ist , ausgeschlossen werden ka . There could be no better

’ proof of the dram atic quality Of thought than Hauptmann s ow n dream

H a nn el e play .

oth ef f a n n n Ha s The elements o his theory o f dram are give i ma ager .

” r n D m h I n Tr a u ll t Pl a titu d es C on ce ing ra a in T e n of nq i i y . Th e I n n o Tr an u ll t f q i i y . 1 06 n 9 E ditio . Ar t 4 1

’ 71 “ sen r eu te r s attack on his pupil Spitta . Sie beweisen es selbst , wenn Sie

— n n n den Mund au f t u n l Sie le ugne die Kunst des Spreche s , das Orga , und wollen die Kunst des o rgan losen Quaken s d a f iir einsetzen ! Sie leug

im D m u n d d asz Sie o Ak zi n en die Handlung ra a behaupten , ein wertl ses i n Ger ech f iir Gr un d l n e . denz , eine Sache g ist Sie negiere die poetische ti keit uh n e Ob elh a f te E r fi n d u n n g , Schuld und S , die Sie als p g bezeich en Ta sach e W t E Hoch w oh l eine t , wodurch die sittliche el ordnung durch uer on d n geboren gelehrten und ve rkehrten V erstand au fgehoben ist . V e

h n M n ie . n I I O e der e schheit wissen S nichts Sie habe neulich behauptet ,

’ d asz un ter Umstanden ein B arbier Oder eine Reinmachefrau ebenso gut ein Obj ekt der T r agbd ie sein kOn n t e als Lady M acb eth u n d KOn ig ” “ 0 : V or vor Lear . T which Spitta replies calmly der Kunst wie dem M ” Gesetz sind alle enschen gleich .

’ Galsworthy s theory Of dramatic art is given in his Platitudes Con “ Th e ! A cern i ng Dram a . There he says Plot good plot is that sure edifice which Slowly arises ou t of the interpl ay o f circumstance on tem

er am en t on l p , and temperament circumstance , within the enc osing atmos

A n H h r e an . e p e Of idea human bei g is the best plot there is ; . . is “ I n n Of n . : C organic a other connection , he says himself omme t on the physical f acts O f th e situation does n ot come within the scope Of o n e who ” 72 an n by disposition d trai ing is concerned with states o f mi n d . What Galsworthy has said is n ot exactly the same as what Hauptman n h as x n said , yet a careful e amination of their stateme ts will reveal the

th T a similarity o f e theories of drama that they hold . h e idea Of m n as a

plot must include not merely his actions , but his thoughts , feelings and

an All . n b e dreams Nor does it limit man to y social positio . are equal ff fore art . Practically the only di erence between the tw o theories is that G l ’ ’ a sworthy s places more emphasis on action than does Hauptmann s . B oth “ artists agree that dram a n eed not embody a story Of human experience ; ” f x “ o o r . An it need only be a picture human e istence , real imagined d this picture may be so typical , so representative , as in itself to constitute a

o f o criticism of li fe , a j udgment s ciety , or an ideal striving of the human ”73 ’ soul . Life s struggles are n ot so important as life itself C oll ege C r am ton Th i e x e on . p , and P g , for e ample

" Di t A I R a t n c I I . e e , t p 97. ” , D a n os s O f th e E n l sh m an in A h a i g i g i S e f . 7a A H en e son Th h n Dr a . : e C a n a m d r gi g . 42 Ger h ar t H a u p tm ann and Joh n Gal sw or thy

As Ha ssen r eu ter advises his pupil Spitta after the tragedy that has “ i eu n t a ta h m in u m r fi n d en ie so j us t taken place before them S c f o . E S was mal , guter Dram a conceived on the principles Ma n is the best plot and thinking ” n n t n is dramatic , is co cer ed less with what people do ha with what they are . Hence there is little Of what is called plot or story . What plot there

a is consists chiefly in revelation of character . Perhaps the nearest p i proach to story in Hauptmann is to be found in his Der B ber pelz . The ’ H a nn l an n l I n story of e e is H e e s vision O f her reception into heaven .

Schl u ck u nd f a n the plot is the entertainment o f two good - f or - nothings i for the enj oyment o f the entertainers . That o f Kais er Ka r ls Ge s el is ’ i t . u s t ce Karl s struggle between duty and love for a young hos age In J , a

eh eck t man raises a to help a needy woman , goes to j ail and never af er

m T F u it in ex er f . h e ive is able to free himsel from the stig a In g , an p ien ce d n I n Th M o o . e b woma leaves her husband and gets int the toils , a man with a vision of higher j ustice is deserted by friends and relatives and killed by a mob . I f these authors d o n ot give much plot they compensate with atmos

h r Di e p e e . In e Web r the atmosphere is a kin d o f ghastliness ; in Die ver s u n ken e Gl ocke n Die R a tten it is the spirit of eleme tal nature ; in , the

e S n in Gab r iel Sch illin s F l u ch t closeness , fouln ss of a lum te ement ; g , the freedom , vigor , lure of the sea , that is comparable to the lure of the sea in ’ Th e ad r om t ea I A B it 0 ove h e S . n L y f L , it is parochial repression ; in

Th e i eo n i i n a n Str e . P g , a kind Of pensive geniality ; f , ~u charitable h rdness Th e successful creation of atmosphere is due to the sen sitiveness of bo th

to an d authors the value of details their careful selection Of them , but

to especially their use of symbols and moods Of nature . The latter ele

f n ments , that is , the use O symbols and ature have already been discussed .

n The former element , selectio of detail , will be discussed later in this chapter .

M r e ilieu , which is a combination of environment and atmosphere , is

a s Of N 75 garded the chief feature what is generally called aturalism . One “ t on : wri ing the subj ect , says The artistic element of naturalism is the

n o f A impressio receive d from the total picture made up details . char

“ Die R tt n A I I a e , ct I , en d . " A . Stoeckiu s : N a tu r a l s m in R ecen t er m an Dr a m a . 8 . i G , p 3

44 Ger h ar t H au p tm ann and Joh n Gal sw or thy

ff t of the d etail and makes for economy . Just there is the di erence be ween

’ H n f or Hauptman n and Galsworthy . auptma n s details are selected them ’ f r An G o e . selves , alsworthy s the light they may throw on other d tails l T other case in point is the introduction Of the pups in Th e E d es t Son . his T use o f detail is somewhat symbo lic . here is no denying the fact that H x auptmann does sometimes admit what seems e trinsic , like discussions

G F B B u . t on Greece ( . S . ) or education ( Jung . von . ) these may be M on Ho sl ab ar explained as in character . ore serious is his introducti of p

o F F n . h o ( V r . S. ) or E i e alte rau ( lorian ) On the other hand consider w

D B i r l closely wrought a play is er be p e z . “ Since the adventurous , and unwonted are rigidly excluded , dramatic

complication can but rarely proceed from an action . It follows . that conflict must grow from th e clash of character with environment or ' ”78 f r i h o cha acter w t characte r in its totality . W hen thinking is dramatic

an o f b e that act a play will largely discussion , and that action i place often between the acts . Such is the case n G alsworthy , however , n H d n . o w more what is do e ence it foll s , h l t . T i B ox e S ver , that . here is more incident in his plays In , theft arrest

‘ an d on a us tice n d I n Th e M o trial take place the st ge ; in J , arrest a trial . b

’ A B t o i . i a v in M ch a l the house is stormed and More slain In L e, as e

r m h a er . t e K , there is a fracas On other hand , some plays have scarcely

an a Das F r ied ens es t a Th e i eon an d Th e ld es t on y ction , f , J y, P g E S . Man as a product Of heredity an d environmen t is in himself neither

n o r N B u hero villian . either is one individual all important . t a pr otag H onist . e e o is necessary is howev r, neither all go d nor all bad ; he has

t an d o f n 18 the streng h the weakness huma nature . Often he a V ictim

n an Off n F ald er ut rather tha e der . raises a check o of weakness of will

o n n n but with a desire t do a ki d ess . Whe caught in the machin e o f jus h e . n oe f or tice is doomed Jo es g s to j ail , while Jack goes free the same ’ ff n F o e se . rau John s intense desire for a child leads to crime and death . ’ R B n F ose er d s love for lamm lea ds to down fall and crime . V ery Often it is not a positive Off ense but merely human weakness or harsh environ

n A H ment that leads to ruin , as with Schilli g, rnold Kramer , elen Krause .

N ot f h n in requently the c aracters are be ighted , helpless , unattractive and

a t gray heart .

L. Lew soh n : I nt o u ct on to r a ma t c Wor ks er h ar t Hau tm n n i r d i D i of G p a . Ar t 45

’ ’ W e do not love Hauptmann s an d Galsworthy s characters because they ar e goo d or hate them because they are bad ; rather we sympathize with

n W e f or C n them because they are huma . have them a kind of hristia

An tolerance f or their imperfections . d thru their imperfections we see

n T ff i our ow . herefore our su er ng is partly egotistical and emotional , and

W e partly altruistic and i n tellectual . realize that life may be more tragic

— n M n C F F than death , insta ce Mrs . ega ( Pigeon ) , lare ( ugitive) , rau

R n John ( atte ) .

n to It is evident that this drama has othing do , as we have heard from H th Ha ssen r eu ter . e , with poetic j ustice elen , only deserving person in

F P z R H th Var onn ena u an . . o S fg g, is driven to suicide rau ielit ( ote )

H a n n l o f n a . e e guilty incendiarism , dies a atur l death without qualms ,

Th e i eon Sch l u ck u n d J a u J a n P g , , y, have themes that can ot be solved by

r n rewards o punishme ts . In Spite o f this fact the con clusion s of the plays are th e in evitable ou t

o f a — e growth the characters and situ tion which is to say , as in vitable as

’

T . H n fate. his holds good even in the symbolic plays auptma n s char

act er s n n , even whe symbols , are huma and act consistently according to H P H an d U . . to their natures . ellriegel uhn ( . t ) must act according their

Th e f Th ittl e Dr eam definite human characteristics . inevitability o e L

n o f n n in arises from the defi ite character Seelche , the huma soul , even a

To n dream state . make the end seem i evitable it is necessary to cast H n an d G d . shadows before . This auptman alsworthy o most skillfully

’ Old Hilse s death (Weber) is foreshadowed b y the toll o f the funeral bell ’ ’ M Hil a - R nd An and other se s lament th t she is SO long a dying . oberts a ’ th on y s defeat ( Strife) is foreshadowed in the attit ude of the men and

’ H n b n directors . ele s death is foreshadowed y her fear of what will happe

’ F F ielitz s n h to her if Lo th Should leave her . rau death is foreseen i t e

’ ’ a n x F doctor s w rni gs about getting e cited . reda s attitude is f oreseen in Th he r speech to B ill at the end o f Act I . e outcome of Th e Silver B ox ’ “ ’ is forecasted by Jack s words at the every open ing : I m a Liberal

’ ’ ’ ’ —th a s rot th a S H n we re all equal before the law , silly . ei rich s defeat

f in th of h - V . G . e e t e d ( ers ) is oretold attitud woo sprite and the dwarfs .

“ An Obj ection ma de to n aturalistic art is that it seizes upon the momen

n Th e tary rather tha the permanent . answer to this is : do not these

momentary conditions in the individual represen t so - called perman en t con 46 Ger h ar t H a uptm an n and J oh n Gal sw or thy

i i n s o f th e ? An d a d t o age further, is there anything more permanent th n character ? Naturalistic art suggests the eternal an d infinite thru the “ e momentary an d finite . The words o f Wann well express the id a : Sehen

i r h en a n W —so h Or e f r Sie sich so ein T e c m al . enn ich es tue ich o mlich ” 79 die Sph ar en d onner n l Nor does the selection Of a moment from the lives o f the characters in

M n n in b ibit movement . oveme t consists largely of cha ges the emotions

e t n o f t . o f the characters , and in the r la io s the characters with each o her I In Hauptmann this is virtually the on ly kind of movement . n Gals

in n worthy there is additio the movement arising from incident or action ,

n B th e as already noted under the head o f actio . oth authors select critical or dramatic moment in the lives o f their characters not because it is an extraordina ry momen t but because the ordin ary by accumulative force

h as . n n risen to a crisis In like maner , tho movement co sists of cha ges in

e n O f emotion , it does not imply chang in the nature or temperame t the

in and . W n characters hen characters are prese ted a moment of time ,

th e when it is trivial , commonplace act repeated every day and not the ’ exceptional act done once in a lifetime that determines one s f ortune an d

— e can t makes character which is fate , these charact rs hardly be any hing ’ “ ” 8 ° H ma but static . That aupt nn s characters have few and fixed ideas

’ o f in is true because , after all , isn t it true life general and the uneducated “ in particular ? That they do n ot evolve new ideas from within or admit ”3 ° h n h t a . t em from without , is a other way of saying t at charac er is f te ’ h An d the same may be said o f Galsworthy s characters . T at their char a t r T f o r c e s are static may be due to several reasons . hey are exhibited a

— n ot n moment only, and character does not change in a moment eve when

n U n e that moment is a crucial o e . nless the mome t is of such gr at power as to overbalance the accumulated force of the past , it will not greatly — change character and these moments are n ot compatible with the theory H o f naturalistic technique . That auptmann and Galsworthy believe in the the possibility of modification in character is proved by their emphasis on

n —f o r a — t environme t the idea environment presupposes dyn mics evolu ion .

Th o not o F ald er R the fact is driven home t us , and ose are much changed

e A H F h by their experi nces . s better examples take ughs ( rat) w o returns

7”“ ” 6 . Un ta nzt ! Act 111 . d Pippa , p 5 “ t r t r Otto H ell er : Stu dies in M oder n Ger m an Li e a u e . Ar t 47

n an d H . a broke man , arme einrich who returns redeemed Or take an

t W V oker at n d H n other kin d o f illustra ion . ould a ele have committed suicide if their spiritual vision had n ot been broadened beyond the horizon

’ o f their immediate en vio r nm en ts ? Is n ot Joy s un derstan di n g Of her

’ mother due to a change ? Is n ot Clare s leaving home due to a previous spiritual e xpan sion ? I n the depiction of characters Hauptmann is interested in the characters

G ex n . themselves , alsworthy in the relations isting betwee the characters

’ ’

in G . Hauptmann s in terest is the people , alsworthy s in the problem

’ ’

n G n . Hauptmann s analysis o f character is emotio al , alsworthy s i tellectual

B th o n an d v oth , ha dle characters with delicacy, tolerance sympathy , e en T H e n e e ow n . o wh en th y represe t vi ws opposed to th ir illustrate , aupt

’ mann s characters commit wrong because they are forced by circum ’ f r x G o h f r e f l in n n . n o stances ; alsw rthy s w ile o c d ee dig atio Jo es e ample ,

' refuses t o get out o f his difficulty as easily a s possible by making re stitu “ ” ’ ff a T x nn o . o tion , because he desires to score J ck that e tent Hauptma s

’ ’ n G characters are passive a d Galsworthy s active . alsworthy s have a sense of direction a n d a reali zation of results that is o ften lacking in Haupt

’ n T m a in man s . his y be due part to the class from which the characters are drawn an d th e diff eren ce in the ir education and outlook ; but it is

f n 1 o more probably due to dif eren ce in a aly5 s of the characters . C mpare

H . n M n V G . a d R a d . H einrich ( ers ) ore , or ose Clare einrich strives for

- M H n b e f in . his ideal y fle ing rom life , ore by staying the turmoil ei rich is d n b h is n an ex n a h rive y emotio s , to such te t , th t e forgets his family

M n n n d o ore is driven by an i tellectual convictio , a consci usly sees his fam i Ros is a n on b n n a n ly desert him . e dr w y the i ocence d inexperience of

' h er n atu r e to commit an off en se the consequences of which she can n ot

’ escape . C lare enters the arena with her eyes wide open . Galsworthy s

h ne h o f con c aracters are ge rally masters of t emselves , probably because M scious restraint f o r many gen era tions . ost o f them have strong wills

M C r an a H R An St w . ackn owl ore , lare , g y , ilary , oberts , thony It must be edged that Often it is bull - headedn ess rather than will t hat the characters

x x ir P n N ot m W e d ce . H e hibit , for e ample , S illiam and y any o f aupt ’ e —An M M mann s charact rs have strong wills na ahr , ichael Kramer , Kaiser

H G Th e n o f ff n e Karl , Lucy eil , riselda , Quint . explanatio this di er e ce b tween Hauptmann and Galsworthy probably is that Hauptmann is in ter

4 48 Ger h a r t Ha u p tm an n a nd J oh n Gal sw or thy

h o t O f th e o r ested in t e psychol gical sta es characters , with without refer

n to n d G e ce their moral actions , a alsworthy in the moral actions as an ex H t ’ pression of th e mental condition . This explains aup mann s interest in

S pathological cases , and the fact that his women how moral weakness of t i charac er and his men spi r tual weakness .

“ ’ Hauptmann s success in depiction of emoti onal state s is due not only

l n to his great psychologica i sight , but also to his rare skill in utilizing j ust those elements in the en vironment o f his characters that make them in ” 8 1 t lli i le r not e H u e g b . While Galswo thy is as subtl a psychologist as a pt

n to ma n , he is perhaps equally careful make his characters intelligible by

B ot the use of the proper elements in their environment . h recognize that

o environ ment determines and completes man . Theref re every obj ect t b e . rought into a drama must have d finite value Likewise every ges ure , f x acial e pression , word must contribute its share to the total impression ,

too to t and , help in erpret the temperament , and mental condition of the

AS t n o character . psychologists bo h recognize that definite line divides

n D conscious from subco scious activity . rama conceived on the principles “ ” “ ” thinking is dramatic an d m an is the best plot must recognize the f — T n e . validity of the i ner li dreams , hallucinations and imaginings here

’ in H ann el e o f n fore , when the thoughts the child s distempered mi d , and in

Th e ittle Dr eam a o f S e L the dre m eelchen , are represented befor us , they

n r n are not o ly d amatic , but the li e which divides the psychical from the factual is in discernible . N e ither author treats this world of thought from a romantic motive .

H a n n h auptm n has bee most successful in the use of t e dream device .

He in l a ch l u ck u nd an an d Die ver s un ken e l acke h a used it E g , S J G if t t play “ is so interpreted Galsworthy has used it in his stories Salvation of a ” T F an d h e th o n o . Th e M ob orsythe Silence , t very successfully In , “2 th n n an e dream is used as a telepathic commu icatio about actual even t . “ Th e Dar k F l ow t In er it is used symbolically to f orecast an ac ual event . “ ” 8 5 “ ” 8 ° Th e in R R v o f dream eveille , e erie a Sportsman serves

I n to clothe the allegorical con tent . these latter cases the dreams are no t

“ H G u m m a n : r 22 . . oet o e . 1 1 . P r P L , , p 7 ”T I I M ob Act I I c I . h e , , S . “ Th D a l w I e r k F o r I h a . V e a t I C . , P r , p “ Th e Littl e M a n an d O th er a t r es S i . “A h S eaf . “I b id . Ar t 49

D so much psychological as symbolical . reams and manifestations o f a t H disturbed men al condition are numerous in the works of auptmann , too

Th e ch il n umerous to be note d specifically . most striking examples are S ’ ’ 8 7 ’ ling s dream o f the fi sh er m an s net ; V on Kam m ach er s dream on the 8 8 8 9 ’ R or oland , his fevered hallucination during his illness ; Thiel s ecstasy t 90 during which his dead wife reappears o him . Somewhat similar to ’ ’ ’ 9 1 Th Thiel s experience is Derek s when haunted by Tryst s ghost . o

Galsworthy does not generally treat disordered mental phenomena , he

Ha n - o r does like uptman indulge in what might be called , day dreaming

T n . seeing mental pictures . here is in this , nothing ab ormal It is merely

b o visualizing what memory and imagination , awakened y s me obj ect or

in fact have con j ured up . The most notable examples Galsworthy are in “ M ” 9 2 emories , in which a faithful dog reappears to his mistress ; in his ” ’ T P in e - Old ime lace , in which he sees his mind s ye the slave market of 93 r iech is h r F r ilh lin d yore . Only by reading G c e g o we come to realize the

x h H n - e tent to whic auptman is addicted to day dreaming . Not merely in the fun damen tal an alysis of ch a racter are Hauptman n a d G f a n alsworthy good psychologists , but in the presentation o ch racter

’ Not F n as well . merely do they get at the root o f rau John s maternal i

’ ’ ’ stin ct ; Gr iesel d a s pat ience ; F orsythe s idiosyncrasie s ; F ald er s weak ’ n ess ; the Little Man s sen sitiveness ; but by intuition seize upon th e x proper means to give the e act interpretation . Their art is seen in both

x N u n what they include and what they e clude . ever do they falsify by

Nor t duly emphasizing details . do they interpret character by ex ended

in Th e ois B t n t comment as E g t . oth interpret by sugges io ra her than by

x W f r n . a o H direct e planatio h t a feat , instance , it is to portray in enschel

’ o r M n con a sorrow without a voice ore s mingled sile t pity, superiority , 9 4 ’ ’ B sin n d ff o e s an e . T tempt , or y Irene s t rrible silent struggles heir su er

f o r ings are too deep words , and these artists know that in such situations

b n a n o e n . more can be told by silence tha y words , m tter how well chos

” a br i l h l n l e Sc l s F u ch t Act I I . G i i g , “ A tla n t s : e a m l s m e t r k V l . 2 e We e o 6 . . i G , , p 47 ”I b . 0 id ., p 45 . ” B a h n wfir t T I er h el Ch a . i , p . “ Th F r e l n h a I e e a s C . d , p XXXV . ” Th e I n n o Tr a n u ll t f q i i y . ”I b id . “ Th e M o A I II b, ct , Sc. I . 50 Ger h a r t H anptma n n and Joh n Gal sw or thy

This reticence in certain situations is not a sign of superficial treatment but

Nor rather a mark o f a true psychologist and sure artist . should it be Th confused with mere stage silence or pantomime . e two features are

O ne e closely related but n ot the same . is what is don by the characters rather than said ; the other what is n either done nor said but suggested A ’ by the character thru the skill of the artist . case in point is Kate s 9 5 V t . temptation of More . ery little is said or done but much sugges ed

’ n ff n Hi f l b e Another case is Ar old s su eri g . s real eelings are concea ed t n ea h an exterior of bravado . Some of the best examples of their power of suggestion are their love

n T n ot R — sce es . hese love scenes are omeo and Juliet like romantic and

n n ot non eloque t . Often their lovers talk love but commonplaces or 96 Max sense . Compare the spriteliness o f the scene between Gertrude and with the delicacy of that between Sylvia and Len non ; o r the ingenuous 9 8 o f e en W a n ness that b twe alburg and Spitta , with the wistful ess of that 99 between Lu x an d Kosakiewic z and the restraint o f that between

1 00 An I n tonia an d Shelton . n early every case Galsworthy treats His love scenes with greater restraint than does Hauptmann . method is

n o f often to report the scene thru a third perso , or thru the recollection

o n in ci al n in a e of the p p s . It amou ts some cases to great effort to pre ” M r s . s . B an d G erve good form The scenes between ellew eorge , Olive

n B osin n e and Len on , Irene and y, as well as those between Irene and

and n o l Soames , Olive and her husba d , all are restrained or n y vaguely

t Nich t a M e iih l s~ sugges ed . s w re verkehrter als Gal sworthys enschen g f zu e : arm oder gar blutleer nennen woll n aber wortarm sind sie , wortarm ” 01 “ zu G 1 bis einem rade It is astonishing, when one considers the

o e ot f rce and passion of so much of his work , to r alize that it is all g from surface - workings—not that he ever suggests the shallow or superficial ” 1 02 ’ H R ose auptmann s treatment o f love themes is much bolder .

‘ B er n d Gr iseld a F o f and are daring but delicate studies . ull passion but

“I b d A I I I I I ct Sc . i , . 90 C oll e e C r a m ton Act g p , V . ” Th e D a r k F l w er a r t I C h a I I I o , , p . . ” P X Die Ro tten Act IV . ” , Die J u n er 71 0 m B h o b r Ac n s c s e t . gf i f g , V l o° Th e I s la n ha r s ees h IV C a . . d P i , p XX 1 O1 M f . Me er el d : Da s l te a sch e ch y i r ri E o, 1 02 K - S. a e Sm th : J oh n a lsw r th y i G o y .

52 Ger h ar t H auptm an n a nd Joh n Gal sw or th y

” 1 1 “ clin ation to bottle shoulders ; the shepherd smokes eine Pfeife aus ” 1 5 “ ” 1 1 6 Rinde 1 Ruth casts a honeyed lo ok ; the Pfarrer speaks of the ’ 1 1 “ Tollkraut o f Heinrich s sin ; 7 C rampton objects to painting in einem “ Kartoff el People with steckenden und gl au b en skr anken ” 1 1 9 Augen come to the Apostle . B ecause Hauptmann and Galsworthy present slices o f life it must

No r not be inferred that their plays are formless . must it be thought b e

’ cause Hauptman n s plays have a great deal o f atmosphere that they lack structure ; or because his acts a r e largely discussions that he is guilty o f

B f r garrulity . oth men have a keen sense o dramatic values an d an intui

e tiv knowledge of the theatre . In naturalistic plays the action usually takes place in a comparatively H short time . Therefore auptmann and Galsworthy in nearly all o f their

n in z t plays follow Ibse sei ing upon the culminating moment . This momen

o f n en d so t t has course , a begi ning and an , but in far as it is the resul an

o n n H of previ us mome ts , it is only a li k in a chain . ence a play has a b e ginning from the immediate complication and an en ding which is often

B o ff inconclusive . oth auth rs di er from Ibsen , however , in that the stories o f e not H th ir plays do arise from the uncovering o f the past . auptmann has a fondness f or the five act form . I f in this feature he follows th e ol d

accid en tal drama , it is rather an than a wilful conformity . E xcept for

Das F r ied en s es t M ich a el r am er Der B iber elz D er r o te f in three acts ; K , p ,

H ah n ais er ar ls Geis el Un d i a tan zt ! H a n el , K K , P pp in four ; n e in two ;

Gr is eld a l a ar e s . in ten scenes , and E g , in six ; his play in five acts Gals

’ Th M o T u i i t . e b h e F t ve u s tic worthy s plays are much shor er , g , and J e are

a ittl D r a e e m . Hi in four cts , and the L in six scenes s other plays are in

. W n n e three acts he we co sid r, however , that he frequently divides an

“ n act into two or three sce es , his structure is merely a modified form of a

fi - Th four or ve act play . e most broken acts in all his plays a r e Act III of

’ u s tice Act o f A B it 0 ove o f J , and I I L , in each which there are three scenes . These are illustrations o f the divisio n into scenes for the sake o f f Ac h B o o . t o f T e Silver x Act o f Th e ld es t on change place I , and I E S ,

1 1 ‘ Th e C ou n tr H u e Ch a I y o s , p . . “ D er N a r r in Ch r s to h a I I I C . i , p . 1 1 " J u A s t ce ct I . i , , p . 3 1 1 7 Die ver su n ken e l ocke Act I I I G , . 1” C a ll r m ege C a pton , Act V . u ° D er H o t l 88 s e . p , p . Ar t 53

All are the best exampl es o f division to indicate a lapse of time . these divisions are , however , organically related . In using them he follows the

a n d n atural division o f his material . It creates a freer form makes for

f a r r an f . o economy o time and words This , and his power selecting and g ’

ff in n H t . ing , explain the di erence length betwee his plays and aup mann s

n ot t n x E xposition in their plays is so much of an ecede t events , e cept

An in Vor on nena u an . d o perhaps S fg g, as of character in both auth rs this

x n or . e positio covers all nearly all the first act The crisis , therefore , is to

’ I u t F l er o r n o f . n s tice i a d s be found at , ear the end the first act J is ar

’ in ais er ar ls Geis el Ger su in d s in Th e ld es t Son rest ; K K , liberation ; E , ’ D t n G t F n ie r o e Hah n . reda s declaratio ; in , the co versation about us av

n ot to an d o . Suspense is due . to the action , but the characters situati n

Th e M o b an d Th e F u itive e to th e In g , our int rest is held by a desire know

’ t W e o M outcome of the protagonist s s ruggle . wish to kn w whether ore ' to t will have the courage to go on ultimate martyrdom , or will capitula e

m n I n C to opp ositi on and his e otio s . the case of lare our interest is in the

z exten t to which she succeeds an d fails in her rebellion . We half reali e from the beginn ing that these characters ar e not going to succeed and yet

F r in the uncertain ty o f the n ature o f the f ailure keeps us inte rested . o stance Clare migh t solve her dilemma by returning to h er husband or to M b n . T alise , y selling herself or committi g suicide hat she does the last is

n n the i evitable result of her character , her previous decisio s having made

h n t e other solutions impossible . Similarly with Loth . W e are a xious to

h ow His see the revelation of the family history will react upon him .

on t o n u r in decisi is simply a reasser i n of his fu damental principle . O t er est in C rampton is in j ust h ow he will respond to the helping han ds

x n m h lu k u n n e te ded to h i . In Sc c d J o the i nterest is in the trick played o n

an d an d ff I n th Schluck Jau how it a ects them . spite of e fact that we

o u r e vaguely guess the solution of these situations , interest is h ld by the analysis of character , the balance o f forces in the struggle , and the way in

n n x which the te sion is i creased up to the clima .

m x o r n t The cli a , tur ing point , comes in mos of the plays at approx im at el i h . n t y the middle of the play That is , if the play is four acts e

o f n climax comes usually at the end the seco d act , if in five acts at the end of or t n Th e the third , if in three ac s in the middle of the seco d act . climax

’ Die ver s u n ken e Gl ocke P H n a r l in , is the farrer s threat to ei rich ; in G b ie 54 Ger h ar t Haup tm ann and Joh n Gal sw or thy

’ ch illin s F l u ch t Un d i a tanzt ! He S g , it is Schilling s collapse ; in P pp ll ’ x r is ld riegel s rescue o f Pippa from Huhn . The clima of G e a comes at the ’ en d o f Scene VI in the moment o f agreement j ust before Ulrich s de ’ u tice isF ald er s n Th e ld . s E parture In J , the turning point convictio ; in ’ ’ s t on C e of B n F in Th e e S , Lady heshire s discov ry ill s relatio s with reda ;

’ “ ” i e e l h on W l w n s t e . P g , y failure to redeem rotters ’ At first thought Galsworthy s plays seem to have better structure than ’ M i h ae r a er Di e Die er H . o f c l m e Web r v auptmann s The last acts K , , and s un ken e Gl ocke have been singled ou t as in dicative of defective structure . ’ Th Such criticism fails to consider Hauptm an n s inten tion . e protagonist o f Die Weber Dr essi er th e o f M ich ael r a/m is not g but body weavers , of K

A M o er not . f , rnold but ichael Technically the plays both men are well

r onn en au made . E xception might be made to patent weaknesses in Vo S f

an o r to n n Th e F u itive g g, the co ventional ope ing of g , but generally defects are incon spicuous . Like most o f the modern dramatists Hauptmann an d Galsworthy have

th ins am M ens ch en Th e i eon accepted the principle of e unities . E e and P g

’ observe unity o f place ; Str ife and A B it 0 Lo ve observe unity of time ;

D F r i d ens es t J o Th ld on o f as e e es t . f , y and E S observe both unities Most

Di R ot ten the plays are restricted as to place an d time . e takes place in diff erent parts o f th e same building ; Die Jungfer n vom B is ch ofs ber g an d Vor Son nenau fgang take place inside an d outside the same house withi n a

Th f H o . e u limited time symbolic plays are more di ficult to interpret . n el e Th e ittl e Dr eam E l a , L and g , in so far as they are dream plays might ch l u ck u n au be considered as observing both unities . S d J and Un d Pippa tanzt ! to might be thought observe that of time . The soliloquy as a conventional dramatic device has long since been

n abando ed . That people do talk to themselves under certain circum

e n H H stanc s is however a recog ized psychological fact . ence auptmann

G li u h or l so o t o . and alsworthy use the q y , but in a y realistic way Usually

a n x o f it takes the form of impersonal e clamation , as in the case Well 1 20 1 21 1 22 23 1 2 w n C m n 1 F W ff 4 H y , Keith , Lady heshire , C ra pto , rau ol , assen

1 20 Th e n I . e o Ac t . Pig , , p 7 1 21 Th e l es t Son A E d , ct I , Sc. I I , p . 1 4. m 1 bi A I d . c I . , t , p 45. 1” C o lle e C r a m ton Act I 1 g p , , p . 3 . “ Der B ber el Ac I z t . 2 . i p , , p 9 Ar t 55

26 1 25 1 n to an x n t tr an w a . e reu er , S g y Less freque tly it is resort d as e pressio 1 27 f t - u o f H n F o a highly wrough p emotional state , as in the case ele , rau 2 1 29 1 8 I n in o f in toxi n An . Joh , sorge a few cases it is put the mouth an — ” 1 3 1 N t m an . ca ed Krause , Jones) Jack ever , however, is the soliloquy

Der unreal when spoken by real people . E ven when used in the poetic

r l o k o f Rau ten d el ein ve s u n ken e G c e it is made probable by the character , h and t e situation . O n e o f the most distinguishing characteristics o f the tw o authors is their f ability to handle groups or masses of men . A large part of the success o

Die Weber a n d Str ife depends on this ability . In other works it forms

I n Die R otten Atlan tis Der N ar r in a notable but less striking feature . , ,

Ch ris to Th e M ob n a , , are scenes showi g a m sterly handling of groups of n f A M an o r o er t C people . The dinner scene in the openi g o f P p y; lara

’ ' F r eel an d s m eetin s h e in J us tice Th e Silver B ox Der g ; t court scenes , ,

B iber elz Der r ote H a h n A an d of Th e ld es t on p , ; cts II III E S are also x x m in f e cellent e a ples . This ability shows itsel f addition , in the act that

l a n e o f d ram atis er s o a practically every p ay has large umb r p n ; and that

Th e in l fi f these are always well handled . number genera , ranges from

A D r H i i h Da en t o . e : er a m e e nr c s te twenty few plays hav less , seven ;

F r ied ens es t aiser ar ls Geis el n n J o ten insam e M en f , eight ; K K , i e ; y, ; E s ch en Schl uck u nd J au n Th e Pi eon and , eleve ; g , thirteen ; and a few

e : Der r ote H ah n n - fi ve Th e ittl e Dr eam plays have mor , twe ty ; L , twenty

e n H an nel e tr i e - on e Die Weber s ve ; , about thirty ; S f , thirty , forty ;

F l or ia n Ge er e - y , s venty eight . The han dling of groups o f character s is on e of the best tests o f a dram

’ a ist s n n T o t tech ique and his k owledge o f the theatre . h at these auth rs

n o f o f a - T n sta d the test is a pro f o their knowledge st g e craft . hey demo

n ot in strate it merely the movement. o f the characters upon the stage in

in th an n o f n n M u l what is called business , but e m ipulatio the co versatio .

n n n ot a x tiple co versatio is gener l , but what e amples there are show the ’

A . x a r e : en d Act o f Vor touch of masters hands . few e amples the of I

1125 n I I I Die Rotte , Act . 126 ’ A I I I I 6 A B t v ct c . . i 0 L o e, , S . , p 3 12" a a Ac I en an d A n o on n en u n t d ct V e d . V r S f g g , , , , 128 R n A I Die otte , ct V , en d . ” Di Ac I n d W b er t V e . e e , , 1 30 Vor onn en a u a n Ac I I b e nn n S f g g, t , gi i g. 1 31 Th x A I n nin e lver B o ct b e . Si , , gi g 56 Ger h a r t H a u ptm an n a n d Joh n Gal sw or th y

onn enau on Act o . Th e E ld es t Son Act Dos F r ied ens es t S f g g, III f , II of f ,

n d Act V o f Die u n er n vom B isch o s ber Act Der r ote the e of J gf f g, III of

r ix n C n n b e H ah n a o s . , in e ch of which five persons co verse o versatio s

r . o f tween three o four are somewhat common In the vast maj ority cases ,

h o on t t , the conversations are carried between two or three charac ers , and

n B u t t oo . this , even when several others are prese t on the stage this is in d tw o o r natural , since , very seldom actual life o more than three con

in . e n verse , even a group of people Of course , that does not m a that the

n . d o n ot two or three speakers ever change They tho , break in upon each

’ ’ B n G . e other s speeches , as do ranville arker s characters The conv rsatio

An t t in Ac is n ot alternate but consecutive . in eresting excep ion is found t

I D B i r l in o V er be e z . of p , which four people talk simultane usly

o f n n ot o i The manipulation co versation can be is lated from action , bus N e . t ness , character and dialog , xcept for the purpose of analysis a uralistic

H G t so technique , as used by auptmann and alswor hy , closely knits these

or o f elements together that every detail , sound movement tells its part

t n o r the story . Sometimes it is the suggested rather than the ac ual sou d

’ Di W li tl r eal n th e . e eber t e movement that tells story In there is actio , yet

of Act n u s tice a great deal suggested action . II I , Sce e III of J is wordless

Act o f tr i e n in but very eloquent . In II , Scene II S f , as in other sce es which n umbers of people appear there is n ot so much actu al as suggested n stage business . This is because the se men make pa tomime as eloquent as

n words , and immobility as full of mea ing as movement . Stage business both as an accompaniment to the words an d as a sub stitu te for words is so abundantly used by both authors a s to make corn ment or illustration superfluous . E laborate stage business amoun ting to

n o n in u s tice Dos a kind of pa t mime is used , as already oted , J , and , in

F r ied ens es t Act Un d Pi a tonzt ! Act f , II , and pp III , in which the dumb

n . servant Jonathan figures . E ach author has a keen sense of situatio

n th atr i The situatio s are pregnant with dramatic possibilities , but never e

A a n cal . lmost y play will serve to illustrate the point .

O ne e of the features for which both authors are cel brated is their rich ,

n . A atural dialog mong contemporaries , each is unequalled in the writing o f — f or a s th e dramatic dialog each h learned well lesson taught by Ibsen . B oth are most scrupulously selective in the creation of dialog , yet they “ never give it a superior articulateness , which destroys the illusion o f Ar t 57

Th e t con complete real ity . speech is always sui ed to the speaker , or

C and ver sel o . y, the dial g helps to create the character haracter dialog “

G G . are in separable , or as alsworthy puts it , ood dialog is character ’ ’ F If it s an Ulrich who speaks , the dialog is easy and polished ; if it s a rau

’ ff n if a F W ol , it is racy and u grammatical ; it s errand , it is suave and dis

’

M r s an d . C j ointe d ; if it s a . Jones , it is monosyllabic unvaried haracters are diff erentiated not merely by what is said but by the form and tone in

n ot n which it is said . Nast is characterized o ly by what he says in defense o f the school system , but in the boastful and arrogant tone in which he — m F V or . says it ; rau Spiller ( S ) by the of her breathing , which forms n o an audible accompanime t t her words , as well as by the words them

M 1 H o C 0 . selves . alise and ope (J y) are distinguished not only by what

’ ’ l s o b M a i e s an d H . they say , but y rhetorical ope s ch leric way of saying it

’ Th e l A f ew more examples must suffi ce . child s vocabu ary is revealed ’ “ — ’ in Little Olive s remark : I n ever can go to sleep if I t ry it s quite ”1 3 2 Th l “ R ou . e helpless , y know figurative anguage of the illiterate auch ’ “ haupt is shown in his speech to F rau Schulze : W0 dir m an ecu s een er

’ ’ u ff t H n a szt Kin d er kens fle en n e d e a dwerk p , mit p g und so Sachen , det

’ ’ E ngel in Himmel nich alle wer n ! den n m ech ten woll so n e Cu r essen ” 1 3 3 u u n r iszt Th e d horen d sehen ve j . primitive coura ge o f the old crossing sweeper is revealed in his prayer f o r strength “ O h God an d Lord , that took the dog from me , gave me this here rheu m atics ff an d o God , help me to keep a sti contrite heart . S give me

’ ff ou a sti heart , and I will remember y in my prayers , for that s all I can

God . on e do now , O I have been a good in my time , O Lord , and cannot

to an f o r remember doing harm y man a long while now , and I have tried

e o f so no to keep upsid s it ; , good Lord , remember and do not forget me , w

’ - F a n d a n n . or that I am down lyi g here all y , and the re t goi on ever and A ” 1 3 4 T H ’ G ’ ever , O Lord , men . hat auptmann s and alsworthy s dialog is full of feeling an d force hardly needs proof . ’ One reason f or the vividness and naturalness of Hauptmann s dialog B is his use o f dialect . orn in a country rich in dialects , and having had

n from birth an i timate knowledge of Silesian , it is natural that he should

ff a An t enrich his plays by dialectically di erentiating his char cters . d his is

1 “! Th e M ob A I I ct I I I c . . , , S , p 49 . " ” D er r ote Ha h n A I I I 1 , ct , p . 00 . “M ” Th e Ch o ce in A M o tl e i y . 58 Ger h ar t H ouptm ann and J oh n Gal sw or th y

I nn n u a H ff t . n Vor o e a n done with phone ic accuracy S fg g, o man ,

Dr n an d H n H G n Loth , . Schimmelpfe nig ele speak normal igh erma ; all

n x the other characters speak Silesia e cept the imported footman , E dward,

' D r B ib er elz B . e who uses the erlin dialect In p , the various gradations of o f that dialect are scrupulously set down , from the impudent vulgarity ” 1 3 s 5 Leontin e and Adelaide to the occasional con on tal slips of Wehrhahn .

n e o f Galsworthy bor in a country poor in dialects , and tr ating a class i not . h s society that does use dialect , has naturally produced little Yet ’ Devon Sage1 3 6 and the rustics in A B it 0 L ove use a provincial E nglish R that is rendered , too , with phonetic accuracy . uth ( Justice) speaks with

- n Th e too n W a West Coun try acce t . omas ( Strif ) , ca not deny his elsh

x n e tractio .

A e H characteristic which has attracted att ntion , particularly in aupt

o f n . e mann , is the employment lo g speeches I f , how ver , these speeches

x n n n m are e ami ed carefully , early all of them will be fou d very dra atic .

o f Act I V o f M ich ael Kr am e f or n n The last part r i sta ce , is almost a mono

i n b an d n a d . log y Kramer, yet it is character, highly dramatic Then there

o f R b tr i e Act e e S . is the very long but v ry dramatic sp ech o erts in f , II h ’ W Most o f t e speeches have a dramatic motive . Spitta s to alburga is a ’ 1 3 7 ’ complaint against h is f ather s injustice ; Hoff man n s to Loth is to win 1 3 8 ’ W h r h ah n h u in Loth over . e s arang e is dramatic because delivered ’ i . u s t c court So also are the lawyers speeches in the second act of J e.

’ n Some speeches ar e long because in character . Crampto s speeches are

H an d Hass n r u er . e e t nearly all long e is loquacious dictatorial . is pom

n ff a d . so n pous rhetorical Mrs . Miler , like ma y of her class su ers from

o f ne n - talkativeness o unburde ed with self consciousness and refinemen t . Repetition s an d uncouth expression s may also accoun t for the length of

’ f T n o H nn . n G some auptma s speeches he too , erma as a language carries “ ”

an . o e n much more ballast th does E nglish On the th r hand , one has o ly to A an d in s am e M ens ch en Act I V Vor Sonn en turn to cts II III of E , of

’ au an an d an o f G to fg g almost y play alsworthy s find dialog in short , pithy speeches . Hauptmann an d Galsworthy ha ve been called novelists writing f or the

13 " L. Lew soh n : I n t o u ct on to r am a t Wor k r h ar t Hau tmann i r d i D ic s of Ge p . 13 " M oo s o l S n s a n d o er e s . d , g , D gg 1 37 Di R tt A 1 e o en c I . , t V, p 53 . 138 Vor Sonn enou A I II f gong, ct .

60 Ger h a r t H a u p tm a n n a nd Joh n Gal sw or th y

or t n o t than with problems of art , economics , e hics ; tho they do attempt definitely to prove anything, we know where their sympathies lie . E ach

a e m a uses par ll lism , contrast and balance in order that the plays y be G wholly obj ective . alsworthy particularly , scrupulously balances the

n ot forces against each other so that he may seem to be pleading a case .

Only occasionally does the mora list speak at the expense of the artist .

too e Their characters discuss problems a little fre ly, but then we cannot

’

. r e accuse the authors of speaking thru the character s mouths , since the marks are usually in character . Only in his early w ork Vor Sonn en o uf

an Dos F r ied ens es t H to g g and perhaps f , does auptmann sacrifice the play the Ten d enz ; and only in his decorative symbols o r remarks does Gals ” t x in th e o f C f o r worthy force his didac icism , as for e ample , choice aste “ the play rehearsed in Th e E ld es t Son ; or the song This day a stag must

Th e F u itive o r o f die , in g ; in the use the symbol the hawk and rabbit ,

’ “ ’ Th e Dar k F l ower or e to : Da d in ; of Jack s r mark his father , that s what you said to This reinforcement o f an obj ective story is too

An e u n adroitly managed to seem uncon scious . other d vice that makes us — pleasantly aware of his purpose is the choice o f names like F reelands .

e too b n h h Int resting sidelights are thrown , y a compariso of the way in w ic C tw o . the men treat the same ideas ompare the brief , suggestive retort “ h n : M b in D M Der of Lac man to his wife ein Mann : Ich nicht ein ann .

’ Ausdruck macht mich immer with Galsworthy s elaborate

e in Th e M on r o r t On treatment of the same id a of P p e y . the other hand ’ ’ " compare Roberts attitude on the question of the poor havin g children

’ oth with L s preachment on heredity . “ T r agod ie u n d Kom bd ie haben das gleiche says Haupt

n h Di mann . A d e has himse lf in e R otten come n earest to making the H e an d . same subj ct matter both tragic comic ere , as in real life , side by

x n side , yet ine tricably i terw oven are a comedy and a tragedy . Indeed we “ ”— approach in this play close to the hysterical poin t the poin t at which

r h M n n we can laugh and c y at t e same eve nt . odern drama with its i co cl u sive ending has produ ced a hybrid form which is neither comedy or

1 “ Th e F u t ve Act IV . gi i , 1 4" Th l B x A II e S ver o c . i , t I “ M ha l Kr a m er A 2 1 c e c t I . i , , p . m tr i A I I S f e, ct I I , Sc. . ”‘ ' r e h h F r h l n 1 c s c er u . . G i i i g, p 9 A r t 61

‘

H t H . tragedy . Thus aup mann has written a comedy ( rote ) which ends ’ il B t . in the protagonist s death and Galsworthy has wri ten a comedy ( S . ) ’ H ’ which ends in a man s going to j ail . Yet auptmann s comedy ending in

’ G n death is comic , while alsworthy s comedy e ding in a j ail sentence is

Not th e t . tragic . ending but the pervading spirit is the de ermining feature In modern drama comedy must be an outgrowth o f character and situa

n . E tio , and not an extraneous element stuck on for comic relief ven in

— e comedy itself no inorganic elements are permitted no epigram , j ok s or

H n a n d G horseplay . Consequently in auptman alsworthy comedy arises

the ! generally from peculiarities o f characters . Scantlebury ( Stri fe) vi

’

m V B . Kl t . A B it 0 ove e . lagers in L ; Nast , Otto and ( Jung ) are good

’ M in ten Mr s . examples o f somewhat in cidental yet o rganic comedy . iler s tion to spill water on the m a n at the door is a side light on her character .

n e in H an n el e n ot b The aturalistic sc nes , were they so terri le might be

o f t comic . Some. the comedy arises from situa ion as well as from char

’ acter : the trick o f suspending a basket of bread over Arnold s seat in the L ’ inn ; the colloquy about prison between F rances F reeland and Tryst s 1 4 9 ’ Th i on . G e children The most comic of alsworthy s works is e P g . It is

in n Th S n . e conceived a humorous pirit , and the e di g is a master stroke

n P n b e f - m en b ki dly igeo plucked y all aveng s himsel upon the moving , y

e h m n n T n u - t e o o . l aving t e the conte ts of a d ca ter . his tur s t be tea Yet with all its humor there is a pervading element o f tragedy that cannot be

. . o escaped It is the tragedy that produces a grim smile S too , with

ch lu k u n d a u f S c J . o This is a masque conceived in a spirit comedy, n but it is permeated with a biting irony . Crampto , while a comic figure ,

r n i is still somewhat t agic . Of pure humor there is practically one n either

n n s author , u less certai few clever remarks made by characters are o under

An d o f - f u n H stood . whole hearted there is little in auptmann an d less in

Galsworthy . Contrast is one o f the most disti n ctive features o f th e work o f both

a . T n b u t! n in uthors hey use moral co trast, it is social co trast which they ’ ar e e e f most int r sted and success ul . Galsworthy s social contrast is often ’ of la H n . f n n c ss against class auptman s o i dividuals against i dividuals . B . I n Sch l u ck u nd J au F r a ter n it oth use contrast tho , in other ways , y, there is contrast o f rich and poor ; in Vor Sonn en auf gon g and Th e F r ee

” Th e F r eelond h I s C a . , p XXX . 62 Ger h a r t H au ptm on n and Joh n Gal sw or th y

n f - Die R otten o f old l a d s o land owner and laborer ; in , the way of act

H inr i h o in D er r m e e c two . ing with the new ; a , of attitudes t ward religion

’ Der N a r r in Ch r is to and A B it 0 L ove contrast the true Christian religion “ N ” 1 50 of spirit with the practical religion of form . The eighbors con

’ tr a st s a Teutonic and a Celtic family living side by side . Profesor Stone s

x m f n . book , and himself are e a ples of rater ity in theory and in practice Hauptmann likes to put a m an between two very different types of

e Ann women . The commonplace wife Kathe is placed b side the superior a Mahr ; the garrulous F rau Lachmann beside the masculine Mich alin e ; the invalid F rau F lamm beside the buxom Rose ; the sensual M el an to

B n beside the chaste Leu kon e . Galsworthy does the same with ia ca F a nd an d N D U ( rat) and the model , Sylvia ell ( ark sually he puts a

ff n M n m en . B osi n e woman betwee two very di erent The artists y , alise ,

Ded m on d an d C . Lennon are contrasted with the practical Soames , ramier F a n amily studies also serve to emph size co trast . B oth authors make much of the contrast that arises from situation .

B F n o eside rau Joh , who is madly desirous f a child , is placed Pauline , who

’ H n is desperate because she is with child . Over against einrich s childre

’ ’ and Luise 5 dead children are placed Dreissiger s over against the child

’ ’ M r R . B ar h ick s . t w s less oberts , the happy mother E nid Jones and Jack

I n crimes are placed side by side . order to bring out moral contrast both

f a authors adopt the use o parallel situations . Sir William comm nds his dependent to marry a wronged girl but refuses to allow his son to make

’

n M r s . h M like ame ds to his wi fe s maid . Krause would disc arge arie for

u an immoral act o f which she hersel f is afterward proved g ilty .

C s n n n B lo ely related to co trast is the eleme t iro y . oth authors use it ff H . n n very e ectively In auptman it lurks be eath the surface , and gives

im r essw n n the p o f being unintentional . In Galsworthy it is rather evide t an d ff As u is used with mordant e ect . Skemp points o t the ironies o f life “ ” ” an d n sting his intellect thereby save him from his emotio s . Perhaps th e n xam o f o M r s M most striki g e ple his irony is the rec very of . egan

e A o f ( Pigeon ) from attempt d suicide . nother is the case the minister 1 5 1 o f a b u f m n who is a lover anim ls t a scourger o e . Somewhat bitter is “ ” 1 5 2 M D n R T f or t y ista t elative his gentleman , tho unfit anything, obj ec s

1 50 A M tle o y .

1 52 771 I n n an u ll t 3 of Tr q i i y . A r t 63

and n t t . h u to mollycoddling , thi ks compe ition the only hing Somewhat

’ “ m or ou s is M acC r eed y s remark that when h e smothered his wife sh e ” 1 53 M . e . struggled very little . . she was aye an ob dient woman ore ge nial is the remark that the d og Miranda found the perfect dog in a toy 54 1 o n in H n n dog on wheels . Perhaps the most ir nic situatio auptma is the Th sinking o f the Roland ( Atlantis ) and the fate of the passengers . e

w F eiblin brave captain ent down while the parasites , Stoss and rau L g were ’ F n r A n f . e saved . lmost as cruel is the irony of Schilli g s ate ollowi g a

h a m an o f tor mark t at must free his soul , he discovers the sunshade his

1 5 5 to F o mentor . Later , j ust when Lucy has lied rau Schilling ab ut the 1 56 x Th n H . e occupants of the ne t room , annah E lias comes out mocki g

h u u au iron y of Sc l c k nd J has already bee n adverted to . Superb is the

D n to irony, when reissiger a nounces that many of the weavers are willing wear their soles ( it should have been souls ) ou t in order to get work ; and later when he thinks half - starved children should not be allowed to carry

1 5 7 ’ M f F u - n heavy bundles . ore subtle is the irony o ra Spiller s after din er

’ 1 5 8 ’ o f F F ielitz s in s it e o f prayer ; or rau death without remorse , p the retri b u tion Wehrha hn had promised to sinn ers ; or o f the compromise at the

Str i e end of f .

A t H an l ho auptmann has written poetic dramas and epic , he has writ h ten comparatively few lyrics . Galsworthy a s written a slender volume M ood r l Th x n s Son s a nd Do e e s . e n o f e titled , , g , gg e planatio this small out

o f n o f put lyrics in a great qua tity work , is to be found in the following “ quotation : Hauptmann seems to be de nied the gift o f purely lyrical ex Hi . s to pression poems , as far as we know them , fail carry us away by

n n an impressio of spontaneity and impetuosity . They are too full of i tel ” 1 59 c o f to G t lectual reflection The appli ability this alswor hy is evident . Yet Hauptmann certainly has the gift o f creatin g a uniform and har m on iou s atmosphere which , after all , is perhaps the highest perfection of

H in a lyrical poem . e is so strongly gifted this direction that it some ” n n 1 5 9 times eve enda gers the realistic development of his dramatic plot .

‘ M ll e of Dee in A M otl e i r y . l l“ F r a te nit h I r C a . V I I y , p X . “ a l h l l n F l h I I br e Sc s u c t Act . G i i i g , A ct IV . m D r A Web ct I . ie e , 158 Vo a u n I r on n en a Ac . S fg g, t “ Ka r l Holl : er h r t H au tm a n G a p n . 64 Ger ha r t H au ptm an n an d Joh n Gal sw or th y

n Gabr iel ch illin s F l u ch t Die u n er n vom One has o ly to test this by S g , J gf D G B is ch ofs berg or os F ried ensfes t . alsworthy does not have the power i Y n n . t e of creati g atmosphere , anything like this degree e his sk tches an d n o f ovels particularly, disclose a highly developed lyrical love nature .

W o ne n o f Gr iechis ch er F r iihlin Th e F r eeland s G hen thi ks g, , and als ’ n on e l H worthy s umerous sketches , is inclined to c aim that auptmann and

Galsworthy are more lyrical in prose than in verse . T H P Y E ARALLE L PLA S.

Die Weber an d Str ife .

N ex n h a ow , having ami ed in this sketc y way the gener l characteristics

m en n f or o of the two , let us tur to the parallel plays a c mparison of the

n Th e details that are found in these plays o ly . parallel most often noted

Di e tr i e a n is that o f e Web r and S f . E ach de ls with a struggle betwee capi

r o f n tal and labor . The fo mer treats the revolt of the Silesia weavers in

1 844 ; the latter a strike o f tin - plate workmen on the borderlan d of Wales

Th f t n f in the present d ay . e ormer shows how starva io gradually orces the peasants into blind revolt ; the latter the havoc wrought by a strike

b n on t an d n f prolonged y uncompromisi g leaders bo h sides , the i ter erence

o f the labor un ion . I n characte ristic fashion Hauptmann approaches the problem from the

an d G . side of the weavers , alsworthy from the side of the employers Yet

n in o f each is very imperso al the presentation the case , tho sympathizing T with the men . his is because each balances the forces and gives sce nes

f th f f Act rom e li e of the employers as well as from that o the men . I of ’ Di We r l Dr eis si r s - Ac I i - e be e V n . is aid in g store room , t his drawing room ’ 'Act of tr i e I S f is laid in the manager s dining room , being temporarily used

' an d Act 111 1 v for a board meeting , in his draw ( and o f ’ Die Weber are laid in the weavers homes ; of Str ife in

R Act the home of oberts , the strike leader . is laid in the

’ in n m en e Dr eissi er s Act about which the congregate befor attacking g ; II , e o f tr i e Sc ne II , S f , before the works where the men meet to deliberate if ff d they will accept the terms o ere ,

Die Weber tr i e x. is simple , S f comple This is due partly because the

in Die Webe tr i situation r is clear cut , that in S fe complicated by the inter f ference of the labor union ; partly because the suf erings of the people , in

Die Weber tr i , are given in detail , directly and at some length , those in S fe

n generalized , made indirect , and co veyed thru a typical case ; and partly

b th e Die Weber ecause characters in , being lower class and uneducated , 66 Ger h ar t H au ptm an n and Joh n Gal sw or thy

n in tr i e b em are presented emotio ally, those S f g of a higher class and better

n . educated , are presented i tellectually This last remark is perhaps made

b e e tin clearer y the statement that the weav rs strik for bread , but the

n plate workme strike on principle . th e The characters in the two plays correspond pretty closely . To Th Dr i s i er o B A . e employer e s g c rresponds the oard chairman , nthony h n . t e former is petty and selfish , the latter , obsti ate and hard To manager

n B a Pfeiff er corresponds the manager U derwood . The leaders cker and ’ a R an d B n D J ger are united in the leader oberts , acker s i solence to reis

’ ’ si er Ac a in Act I V a r ell ele d Ro g in t I , and J ger s are p by berts defiance

A r Ac To H H of nthony and the directo s in t I . Old ilse corresponds enry B B . Thomas . oth are religious in a rather narrow sense oth protest

on e th e against the strike , the against unlawful conduct of the strikers ,

i e a the other against continuing the strike n the face of almost certain def t . s ow n w o f One protest quietly to his family , the other actively to a cro d

H - in - h o f workmen . ilse has a daughter law Luise , w has su fered patiently

. N ow o f for years , stirred by the action the strikers , she passionately H reviles her husba nd and Old ilse for what she calls cowardice . Thomas

M w h - o . has a daughter , adge , is fiery and sharp tongued Just before the meeting of the men to consider the terms she spurns her fi an cé because of

’ R Dr eissi er s his support of oberts and thereby turns him against him . g

’ e wife and childr n and the children s tutor correspond to E nid , her children ’ and her father s valet .

Th e contrast between the luxury of the employers .and the poverty of

t th e the men , is best brough out by way in which the children figure in the H ’ f plays . The einrich s have a large family . One o the children faints

’ ’ Dr eissi er s x B au m er t s r in g from sh eer e haustion . grandson is a poo wretch without a father . Luise has lost four children thru poverty . On ’ the other hand Dr eissiger s children are ra ised in luxury an d have a

tr i e b private tutor . In S f this terri le situation is forced home not by the

' o f n f h el em F number cases given but by the j uxtapositio o t e en ts . irst

Mr s . R R there is oberts , who is childless because oberts thought it a crime

n T to have children u der such conditions . hen is introduced in the bare

M r s R little room in which the invalid . oberts lives , the spiritless little Jan with his whistle . Th e monotony of its sound in those surroundings pr o ’ duces an atmosphere o f desolation the eff ect of which can be likened to

68 Ger h ar t H au p tm an n an d Joh n Gal sw or thy

r e a al Str i e n n n al e a bout equ ; in f , e ta gleme t ready existing , is continu d by ’ Not M r s Ro the refusal of terms by both sides . until after . berts death is

e there any disentanglement . In both plays ther is more action than is gen

An lo eral in the work of eith er author . d in both plays there is less ve — element than is gen eral with either in the one a slight scene between

A e M nna and the traveller, and in the other a short scene betw en adge and

’ R tr i e G o f ous . S f is alsworthy s longest play and the largest in number

F l r ian e er Di Weber th e e t o f H . o G e characters E xcept for y , is long s aupt

’ mann s an d h as the greatest number of characters . The time of year in

Die Weber of M a Str i e F e r e is the end y , in f , ebruary ; the w ather being

’ l tr i e o . spective y hot an d cold . E ach play opens at twelve o clock no n S f takes place in six hours ; the time of Die Weber is not specifie d but it could

n — take place in twe ty four hours .

o f N either play has anything to d o with poetic j ustice . The only results

t th e e H o these bit er struggles are d aths of ilse , a harmless , extremely pi us

M r s R n old man , and of . oberts , an i nocent invalid ; the destruction of

’ Dr eissi er s r o er t two A g p p y, and the breaking of the able men , nthony and R oberts . N B either author off ers any solution o f the problem . oth are content to show th e eff ect o f heredity and environment ; to contrast the rich and B t the poor ; to point ou t the inj ustice o f such a system . oth sugges some t H n G ex hing deeper . auptman makes implicit what alsworthy makes “ ’ licit : p , thru the mouth of E dgar There s nothing wrong with our human

’ ity . It s our imaginations .

De B i r el z an Th il er B ox r be p d e S v .

’ Der B iber p elz an d Th e Silver B ox deal with a theft and a subsequent n trial before a magistrate . They are called comedies , but are co ceived in ff H very di erent spirits . auptmann says the field of the comic is the intel ’ lect . As Galsworthy s plays have a pronounced intellectual element

’ G t B u t comedy ought to be alsworthy s for e . the seriousness with which he treats his subj ects brings them close to tragedy . This

Th il r B x D r B i r is true of e S ve o . e be p elz is perhaps the most intellectual H ’ G of auptmann s plays , and more light and comic than any of als ’ B worthy s . y treating th e subj ect intellectually he has forestalled criticism f h o t e . be of the morality characters W e must remem r too , that he has

t d o t no hing to with poetic j us ice . h l l l P a 6 T e P ar a e l ys . 9

ox v The obj ects stolen are res pectively a beaver coat and a silver b . Sing

l l o f n or o f u ar y enough neither these obj ects is a symbol , an integral part the action . It forms simply a minor detail for which many other objects would have served almost as well .

o f D B iber elz F W ff The protagonist er p is a washerwoman, rau ol , who u manoeuvres a series of thefts from a wealthy old citizen named Kr ger .

d au h F rau Wolff has a husband who assists her in her schemes , and two g ii ’ on e in Kr er s . W ters , of whom is employed as a servant g household hen the theft is discovered Kr iiger discharges an innocent woman on suspicion .

T e Th ilver B ox w h o a h protagonist of e S is Jones , steals cigarette box

’ h i k i n B ar th w ick s B a r t c s . H s f rom the w wife is a charwoma at the , and I n when the theft is discovered she at once is suspected . each case inno

ff o G cent persons su er . Incidentally it should be n ted that alsworthy has compressed the situation into sma ller compass and therefore has fewer characters . On the other hand he expands the situation in other directions . F ff The Wolff s and the Joneses are very diff erent people . rau Wol is “ M r G - n e . s . clever and i g nious , and has an iron nerve Jones is a awd for ” W ff w h o n to M r s saken image and a supine fatalist . ol , really correspo ds .

- an d . Jones , is sloth ful and slow witted , a pawn in the hands of his wife

n an an d Jo es , while far from being ideal husband or man , is spirited inde

F ff n n n . W n o a d pendent rau ol steals because she has compu ctio , no moral

standard . Jones steals because poverty , drunkenness and a sense of suf

f er in g inj ustice drive him to it .

u . I n One other character fig res in an important way . the home of

F - u e Dr . z B u t Kr ger liv s a leisher , a meek , law abiding citi en . he has liberal views on certain questions and therefore falis under the suspicion

B ar th w ick W t . of ehrhahn , the magis rate has a son Jack , who is far from

n l a — B u ff w . t o bei g a respectable and abiding citizen in spite f his o enses ,

he goes unmolested by the law thru the machinations o f his attorney . The t ff attitude toward the law and the magistra e di ers widely in the two plays . Hauptmann satirizes the officia ls but does n ot attack the principles of j us G t f e . m o tic alsworthy does not at ack the j udg ent the magistrate , but the

t B n . H severi y of the system oth show the empti ess o f human j ustice . aupt “ ” mann ridicules a system that permits a fool to hold office and run a community ; Galsworthy the system that considers only the deed and n ot

. We the motive hrhahn is an egregious ass , a pillar of society and the 70 Ger h a r t H au ptm on n a nd Joh n Gal sw or th y

He n w h o Church . is a blata t egotist knows all about a case before he has

He heard the evidence . disbelieves the truth from those he dislikes and believes lies from those he trusts . So in tent is he upon hunting down “ ” Socialists an d others det er n ich ieb er n Kirchturm fallt when it lies b e

He n ot . fore him . Galsworthy does satirize the magistrate is depicted as

m an t . C t a sensible who is in ent on sticking to the point onsequen ly, when he is about to get off the point by examining into the way Jones got pos t session of the reticule , he discovers his docket does not mention a re icule .

H to th e e is rather stupid , permitting Jack be dismissed from stand before Hi t . s Jones has finished his questions intentions are good , but wi h “ - o f . form , stupidity and the manoeuvres the lawyer, j ustice is one sided

F o G o f ha s . r E ach magistrate , course , his set of assistants lasenapp . the

Mittl ed or f an d M Der B ib er elz clerk ; , the constable ; otes , a satellite , in p , f an d Th il r B x e ve o . there are a clerk , an o ficer, Snow , a detective in S H G auptmann as usual , treats the subj ect from the side of the poor , als worthy from that of the rich . Social contrast is used , but it is minimized

D r l D r r B i e wo n . e in e be p e z. The sc nes in the t plays are well bala ced In B iber elz A W ff A IV p , cts I and III are laid in the home of the ol s , cts II and Th il r B ox Act Act in . e ve in court In S , I and II , Scene II , are laid the i B a r th w cks Act . home of the , III in court Structurally the plays are

A o x f . t o a alike , the clima alling at about the middle ction , is more of feature than is general in the works of either author . Oddly enough , both

D B i r e t plays open in a similar manner . In er be p lz Leon ine is dozing e T n wh n the curtain rises . he fumbling at the door and knocking break the

T il r B x . T silence . h e S ve o begins with the stage empty hen Jack fumbles at the door an d bursts in . How approach to a problem from diff eren t poi n ts of view demands that

n ff the same detail be used i di erent ways is illustrated by a few features . The coat stolen by the Wolff s is handed on to Wulkow in order to get it Th ’ out of the w ay. e reticule stolen by Jack gets into Jones hand by acci

F u W ff n an n dent . ra ol pla s d executes thefts o the pretext of helping to

M r B . s educate her daughters , so that they may rise in the world . arth w n t n ick laments the evils o f educatio , asserting hat educatio causes the

An d ff t h poor to get above themselves . the di erence in spirit in which e

ow not n plays are conceived , sh s itself o ly in the tone of the plays , but in th e D er B iber elz emphasis put on certain elements . p , being broad com n ot Th il r B ox F t e e ve . edy, does hav a definite message , while S does ur her ,

th e t th e tt o e former pu s the emphasis on individuals , the la er on the pr bl m . T h e P ar all el Pl ays 71

m m ah r an d Th ittl e Dr eam H a nn el es Hi elf t e L .

’ ’ Die Weber and Str ife are among Hauptmann s an d Ga lw orth y s long

r l D r a est plays ; H onn el es Him m elf oh t and Th e Litt e e m are their shortest . “ H an n el e is a Traumdichtung in zwei Teilen Th e Littl e Dr eam is an

x . allegory in si scenes . E ach is a dream poem in prose and verse The

’ o n e is th e dream o f a child s fever - distraught brain of her reception into

o n heaven ; the other the dream of a m u tain lass named Seelchen , of her

’ in Th e n . life s experien ces . scene o f each is the mou tains The one is laid

H in an almshouse to which the dying annele is brought , the other a hut , m the home of the little soul . The transition fro the factual world to the

th o H an n el e imaginary is in each case imperceptible , in it is much more subtle and delicate .

Th e in dream each case is set in a kind of frame , consisting of a prolog

n and epilog from real life . Th en within the dream are alternatio s of the

’ D Han n l s n real and the imagin ary . uring e e sa e moments the scene is the

i e bare nhospitabl almshouse , with its wretched inmates ; during her dream ‘ b it is the spirit world inhabited y her dead mother , angels and the spir

u h it al cou nterparts o f the people w o enter into her life . Chief among H f es an d G . er th e are her father, Sister Martha the teacher ottwald ather

n . in her dream is j ust what he is in life , a drunke brute who abuses her

G Th e f or ottwald is confused with Christ . kind teacher embodies her

an d n x — both an earthly a divi e love . It was this mi ed love partly reli

on o m a gi s , partly sexual , that drove her int the pool of water after the i g in ar o f h y figure C rist .

Th e ittl e D r ea m an n Th e In L too , the real d the imagi ary alternate .

’ en o f S h n H an n el e s dream experi ces eelc e are , like , the outgrowth of her Th m x . e en real e periences staying in the hut become her rival lovers ,

B u t Th between whom she is drawn equally . this is not all . e men are

a t o n n m de personi fy certai abstractio s as well . Lamond is from the cit y .

H e er son ifi es therefore p the lure of the metropolis , the gay , ceaseless

F l m an o f . e s H e er onifi . s es whirl life is a mountaineer p the beauty , fresh s n to . fl es , serenity of life close nature In additio n the mou ntains and ow

n Th W n H n . e n ers are perso ified i e or promises Seelchen old wi e , chance ,

. Cow H n s h change , voice and many loves The or promi es er n ew milk ,

t n A o e . n certainty , peace , s illness and love d warns her “ that she shall love both . Thou shalt ence ; and 72 Ger h a r t H au ptm an n an d J oh n Gal sw or thy

W H th e t d . dance in the ci ies wi th Knowle ge Of course , the ine orn and

t F el sm an C ow Horn are identified wi h Lamond and , being the allegorical

As H t t h . G coun erparts of hese real c aracters the reat orn prophesied ,

t m en an d o f Seelchen loves bo h in turn , having enj oyed and wearied each H — M G . love , seeks refuge with the reat orn ystery

’ n n l e th e Ha e e s dream thoughts alt rnate between the actual and spiritual ,

’ Seelchen s between city and country li fe ; but in each case the dream blends a th into and arises ou t of the factual . This tr nsition makes necessary e use f F o f three sets o characters . irst are the real characters . Then are the

a m a im g inary ones , which y be further divided into those that speak and those that are pantomimic . Of this latter group , there are a great many

h ittl r a m H an l t more in T e L e D e than in n e e . In the lat er they are

o f n . chiefly angels , in the former , voices and figures personified abstractio s “ o Han n l a The time of b th plays is the evening , for in e e Mondschein f llt

’ ” F n an d in Th e ittl Dr eam n th e durch s e ster , L e the moonlight shines upo

H nn l n in Th ittl D r am n . o e e e e e mountai peaks In it is a winter eve ing ; L , a fine n ight in August .

B e th e oth plays hav an element of symbolism . The black angel , stranger ,

—h i m l ii s l m e sch l s e . the cowslip , all have a symbolic meaning On the other h i r a h and t e whole o f Th e L ttl e D e m is a symbol . The spirit in which the plays are conceived is the same . The mood is that o f aloofness from the

H ann el e Th itt Dr eam world . has a religious and e L l e a philosophical

H el h n . an n e 5 t e import shows the soul longing to escape the ugly , burni g

f I t - i desire or happiness and love . shows the deep rooted convictions n t ff Hannele tha t her ear hly su erings will be glorified after death . Th e Littl e Dr eam shows th e eternal struggle in the human soul between th e d i n — a n n r . opposed forces of life , the final refuge somethi g g eater death

As It represents the universal desire for change and variety . Seelchen “ : n — Han n el in says I am full of big wa ts like the cheese with holes . e ter r ets n i p a unive rsal huma characterist c thru a concrete individual case . Th e Littl e Dr eam interprets a similar characteristic thru the personification a sta t of the b c and the general .

’ M ich ael Kr am a A B t er n d i 0 L ove.

’ M ich ael Kr am er and A B it 0 L ove have f or their theme the suff erings

n o f A of a misunderstood man who is inte sely desirous love . rnold H ff Kramer is a youth who is somewhat physically misshapen . e su ers Th e P ar all el Pl ays 73

He from the instability of genius . is hypersensitive and as a consequence

n of th e u nfortunate home co ditions under which he grew up , has a warped

His Hi n . character . s father inspires him with un atural fear mother H makes his li fe miserable by her continual nagging . e needs a helping

own o f hand , but thru his weakness character fails to seize the hand held

A o u o . o o t t him by his father b ve all , his sensitive soul required some ne ’ C to d au h to love him . onsequently he takes a mad fancy an innkeeper s g

ter c o f . , who is in apable understanding him much less o f loving him A F . urthermore , she is already engaged to a frequenter of the inn rnold

o t o f - th e sits nightly in the same sp in the corner the bar room , devouring bar - maid with his eyes and sketching the boisterous frequenters with his

Th e can pencil . result is that he becomes the butt of this crowd that see o f him nothing but his ugly exterior .

r H t r an wa e n o . e S g y is n ither young nor unbalanced , is he a genius is a T w h o . minister preaches the gospel of love , and moreover practices it his B u alone causes him to be misunderstood . t when his wife leaves him and

to e n a s e he refuses s ek some ki d o f legal revenge , he is regarded a w akling,

’ o A a coward and one un fit to preach G d s word . Like rnold he is hyper — sergsitive and has a burning desire f o r love in his case the love o f his not A As o f e . too worthy wife , and , as in the case rnold , his lov is unrequited

A x t ran wa to rnold e presses himself thru his sketches , so S g y gives vent his emotions by writing love poetry and playing a flute out in the meado w by T h . w o himsel f his , of course, brings ridicule upon him from the villagers congregate at the public house . Arnold and Str angw ay both have an inherent feeling of superiority to

A too t r a n w a o those who persecute them , but rnold is timid and S g y to

to e x . em meek , giv it outward e pression Only once do they give their o

A n tions physical expression . r old is finally impelled to draw a revolver

n B u i o . t e n s e his tormentors as th y soo overpower him , he humiliated b

n r a n t yo g endurance and rushes out and commits suicide . St gw ay goes o th e f or n h inn to get some liquor to strengthen him his sermo . While e is there he is insulted b y a drunken parishion er from whose daughter he had taken and liberated a caged bird . On the spur o f the moment Strang

A r way throws him out o f the window . fter the sermon St angway is

hissed at the church door . So humiliate d is he that he goes away with

n f H o e. e te the inte tion committing suicid is preven d , however, by the 74 Ger h ar t H au ptm on n and Joh n Gal swor th y

T ff n in n timely appearance of a little girl . his di ere ce the solutio of the situation shows up prominently an important diff erence between Haupt

I n H n n mann and Galsworthy . auptman a character is ofte so hemmed in by his ow n n ature and environment that on ly one way out o f the d iffi

I n T e . G culty is left him . his is fr quently suicide alsworthy some timely

n a n circumstance interve es and solves the situ tio for the character .

not n o f In this case , however, it is solely the appeara ce the girl that

H A n tr an wa . e saves S g y has a strong will , and courage , which r old has A ’ A I . n ot . n this respect he resembles somewhat rnold s fathe r Like rnold

o M an he is weak in his l ve , but like ichael he has inner strength that helps “ H t him to fight his way thru . e is de scribed as a gentle crea ure burnt

His . within . struggle is not so much with the world as with himself “ ” “ h n h r H F 1 x tou c i h is ea t m her e . ou ight he e claims , g , y fight is ave y ? — ever been in hell F or months and months burn ed and longed ; . killed a m an in thought day by day ? Never rested for love an d hate “ Somewhat similarly Arnold exclaims to his father and Liese : Mir ist H ” 1 62 “ V nicht sehr wohl in meiner aut . ielleicht bin ich auch wirklich

a h l i h n au sz r li h D e c n . l c er c . Ich mei e , innerlich icht enn wenn Sie mich ’ 1 63 in von E nerlich konnten betrachten , da brenn ich die Kerls der rde weg3 ’ This struggle within a character s mi n d and heart is an important feature

x u of the work of both authors . It e presses itself outwardly in co n te “ ” “ ” nances schmutzig blasz ( Arn old ) and blasz und gr iibl er ish ( Mi W l x chael ) . ritten large in both these p ays , tho much more e plicitly in

M ich ael r a m er K , is the thought that character is fate .

an In spite of the tragic theme , each play is relieved by element of

e an d comedy . The inn sc nes are made somewhat humorous thru incident

’ A B it o . 0 ve o character revelation Those in L particularly, are very g od ,

al - but they amount most to an over emphasis of the milieu , unless we are

to . o interpret them as parallel to the tragic element Perhaps , h wever , they serve to emphasize the contrast betwe en those moral and superior j udged

ow n an d b ab so by their standard , those moral and superior j udged y an

inn Mich a el . o t oo n in lute standard To s me extent this applies , to the sce e

K m er r a .

N CO CLU SION .

Now , after having noted the general characteristics o f. the two authors n and made a somewhat detailed compariso of four parallel plays , I am

h n n n H n ready to adduce t e atural conclusio s . I have show that auptman G G and alsworthy treat chiefly the middle and lower classes , and that als worthy approaches his subj ects from the side of the middle class and

Hauptmann f rom the side o f the lower . Yet both delineate essentially “ ” average characters o f similar types . These types fall into groups

fi n ancier s m en t , ministers , criminals , young , girls and others , hat are only

B u n n n ot superficially alike . t i certain groups o e finds a likeness that is

r e superficial . E ach author depicts some individual characters that are m rk l S n a a ab y similar . E ach hows a decided predilectio for m king the chief o r very important characters creative thinkers or artists . E ach draws a n o F .t o f on e . e umber people , who for some reas or th r are pale urther , study of family groups is a pron oun ced feature of the work o f both

B u t a re f authors . in one characteristic they especially alike , the habit o

an d e repeating situations charact rs . O ne of the points in which they are in closest contact is in their choice

B n n an of themes . oth are i terested i the same social d economic problems — an d n . capital labor , idle ess , overwork , j ustice , inequalities of opportunity

on e . In play of each the subj ect matter is political In that , and in other

an . B ut works , each shows interest in mob psychology the theme with

~ which they are preoccupied is that of the unhappy marriage . Closely t e

the f n o f o f lated to this is that of alle girl , made the subj ect one play each ff . n . author Love is a stock theme , but with them it takes di ere t forms

F n t irst , it is represented as a tyra ; second , as a thirst of the heart ; third ,

w H r . o as a beautifying and redeeming po er umanitarian brotherly love ,

e with its consequent sacrifice , has received several tr atments by each A author . kin to this universal love is love of animals and flowers which is a marked characteristic of several of their characters . Their satires on

n t education and reform , and things literary, are also o eworthy . C on cl u sion 77

u se t ff Symbols they wi h telling e ect , in their novels as well as their

n d h n . plays , a in t eir aturalistic work as well as in their symbolic Toward nature they assume practically the same attitude . They use it in their art P d m an . to create atmosphere . Then they use it as a backgroun to hilo t sophically, they regard it not as an ugly thing or as an antagonis ic force , w but something ith which man must put himself in harmony . l h n T hat which urges bo th autho rs to write is the impulse to en ig te .

F t t t . urther , hey brood over life , and contempla e its spiritual adven ures

A n nd H e . s t a enc , they are realists such bo h use aturalistic idealistic tech

n not nique . Their co ceptions of drama while identical are in essential

B t o f . agreement . oth acknowledge their preoccupation wi h states mind

As dramatists they use the same gen eral technique . They scrupulously

f e select details , and interpret the problems of li thru the momentary and F r o . or the finite . Therefore they often reso t t the unities the same rea

‘ B u t e son they use similar structure and create static characters . t they

n B ject poetic justice and features belonging to co ventional drama . oth

s an d n ze have u ed the dream device , as psychologists recog i the validity

n As h ff of the world of imagi ation . artists t ey produce their e ects thru . su stion n n T n gg rather than by direct commu icatio . his is show especially n l n in th e an n o f i in their handli g of ove sce es , m ageme t business and d alog , and in the choice of the specific word .

A t Th o f t few features deserve special at en tion . e plays each drama ist

n T so have approximately the same umber of characters . hese are well

n n t f ma aged as to co stitute a dis inctive f eature o the work of each man .

o f too in n This handling groups of characters is revealed , the manageme t

- o . U h t of multiple conversati n sually, owever , each author restric s his D conversation to two or three persons . i alog is a characteristic for which

h n n m each is celebrated , for dialog is with t em sy o y ous with character .

r b th e o f In this they are g eatly aided y use dialect , provincial expressions

r M o . o n m accent ore ver, their dialog is dramati c o atter whether the T speeches are long or short . heir stage direction s are often epical ; but

n t they never dege erate to personal comment . S age directions are made h full and specific because bot dramatists regard every detail , sound or

o f movement described as part the play . The subj ective peculiarities of the two authors are revealed in their use

m n n d efi of similar ele e ts , bala ce , parallelism , contrast , and irony ; by their 78 Ger h a r t H a u p tm an n a n d Joh n Gal sw or th y

b o cien cy in pure lyricism and humor, and y their production of the c mic thru the revelation of character . In the preceding chapter I have shown the extent to which the four

' plays of Galsworthy are like the four pl ays o f Hauptmann . It will have been noticed that Str ife and Th e Littl e Dr eam very closely pa rallel Die

l Th ilver B ox e an H an h e. e Web r d e S , while dealing with a theme and a

n D er B iber elz situatio similar to those of p , does not parallel that play so closely because of the diff eren ce in spirit in which the two ar e / con

’ M ich ael Kr am er a n d A B it 0 o ceiv d . ve e On the other hand , L are more t T alike in spirit and treatment than in the situa ion or characters . his is chiefly due to the fact that the one deals with artists and the other with a minister . To none o f the numerous problems that Hauptmann and Galsworthy treat do they off er a definite solution . They are concerned less with the

th T e th m aterial outcome than with e spiritual . heir primary int rest is in e

’ individual s spiritual freedom . Yet they are social dr amatists . That is ,

n they look at things from the sta dpoint of society . They recognize that real spiritual freedom f or the individual is impossible unless society itself Th ’ rises to the point of spiritual freedom . e individual s struggle i b for ’ o f to them then , the means calling attention society s responsibility .

o f n o w The parallelism of the works the two authors is established , and

n o . c not o f needs further comment Its ause , it is the purpose this study to

n Un Z eit eis t ascertai . questionably the g explains some of it , as it does the

o f coincidences of their careers . The spirit the age may explai n the gen

o th eral similarity f their works but hardly the detailed liken ess . On e

t an d n x ff o her hand , their heredity e vironment may e plain the di erence in

an d e . treatment of the same situations , themes , other elem nts In other

b l no ff words , they might e even more a ike were they t of such di erent n ation alities . B B L RAP H I I O G Y .

K WOR S.

G H T H U PTM N N 1 862 E R AR A A , P r o i I sl i B h . b m et d en l o 1 88 . W s e s . , 5 , erlin ‘ ’

B o 1 1 8 . oh nw r ter h iel 88 . T , 7 Published , 99

1 Au fl e 1 8 . Vor on n en au an 8 . a S fg g, 99 7te g , 99

D A 1 1 8 . er os tel 8 0 . p , 9 Published , 99 D 1 u fl e 1 8 A a . os F r ied ens es t 8 0 . f , 9 3te g , 97 m M n h 1 8 1 1 2 Au fla e 1 8 insa e e s c en . . E , 9 te g , 99 Di e 2 1 Au fla 1 8 e W b er e . , te g , 99 8 r am to 2 6 A u fla e 1 . C oll e e C n 1 8 . g p , 9 te g , 99 l e D e i Au fl 1 8 . r B ber e z 1 8 . a p , 93 5te g , 99

- 1 l 1 . Au fla 8 H onn e es Him m el a h r t 8 e . f , 93 7te g , 99 F l fla 1 i e 1 6 2 Au e 8 6. or an G er 8 . y , 9 te g , 9

1 8 6 Ges a m m el te W er ke 1 1 2 . 9 ; , 9 D 1 fl 1 8 r Au a e . ie ve s u n ken e Gl oc ke 1 8 . 2 , 97 te g , 97 F u h r m an H en s h l 1 8 Au fla e 1 8 c e 8 . . , 9 4te g , 99 h l u ck u n n 1 8 Au fla e 1 0 0 Sc d J a . . , 99 5te g , 9 M i h e Kr a Au fl 1 c a l m er 1 0 0 . a e 00 . , 9 7te g , 9 D 1 1 fla 1 1 t H oh . 6 Au 0 er r o e n 0 e . , 9 te g , 9

D r i 2 1 Au fla e 1 0 2 . er ar m e H ein ch 1 0 . t e , 9 4 g , 9 R os e B r 1 0 1 Au fla e 1 1 2 e n d . . , 9 3 7te g , 9 n u fl 1 6 Pi n t ! 1 6 t A a . U d a ta 0 . e e 0 pp g 9 7 g , 9 Di u o B i r 1 0 Au fla 1 0 r v m s h s be . e e n n c o . J gf e f g, 9 7 4te g , 9 7 i r 1 Au fl 1 8 6 a . a s er a l s Geis el 0 8 . e 0 K K , 9 te g , 9 Gr iech i ch e F r iih lin 1 0 8 s r . / g, 9 Gr is eld a 1 0 , 9 9 . D i 1 1 , er N or r in Ch r s ta 1 0 Ges a m m el te Wer ke 1 2 . , 9 ; , 9 Die R otten 1 1 1 6 Au fla e , 9 . te g . Ga br iel hillin s F l u ch t 1 1 2 Sc . g , 9 tlan tis 1 1 2 Ges am m el t W r ke 1 1 2 e e . A , 9 ; , 9 F es ts iel 1 1 — p , 9 3 . h n r 1 1 . o B . e in U 81 Co . L g , 9 3 llstein , erlin D er B o en d es O d ss eu s 1 1 g y , 9 4 . P a i o 1 1 v l . O r s U . B n , 9 5 llstein C , erli .

D s B t H . G . Poems in a Oxfo rder uch Deutscher Dichtung . E di ed by F . o U 1 1 1 . iedler Oxf rd niversity Press , 9 ’ Unless otherw ise specified the Publisher of Hauptmann s w orks is F B . n . S ischer , erli 6 80 Ger h ar t H au p tm ann an d Joh n Gal sw or thy

H N G SW TH Y 1 86 JO AL OR , 7 Vill R u n th o D o bel a nd O er St r ies . w C o uck orth and ompany , L ndon , 1 909 . I sl a n h ar i 1 W H d s ees 0 . o 1 0 8 P , 9 4 illiam einemann , Lond n , 9 . T ’ h e M a n o r o er t 1 06. G . . N h ew . t f P p y, 9 P Putnam s Sons , York 7 n Pri ting . ' - Th ilve B x 1 0 6 F 1 1 6 e S r o . . 2 , 9 Plays , irst Series 9 t Th u u 1 C o n tr H a 0 . . G . N 2 e s e e . 1 y , 9 7 P Putnam s Sons , w York th

Printing . J o 1 F 1 6 0 . S 1 . y, 9 7 Plays , irst eries , 9 A m ta r 1 G t R o o 1 C o m en 0 8 . 0 8 y, 9 ran ichards , L nd n , 9 . ’ 1 t F r t r n it . N 1 a e 0 G . . o ew 1 . y, 9 9 P Pu nam s S ns , York , 9 I

tr 1 . F 1 1 i e 0 6. S f , 9 9 Plays , irst Series , 9

'

Th . 1 0 1 1 e ld es t Son . o S . E , 9 9 Plays , Sec nd eries , 9 3 M tl 1 1 A o e 0 . y, 9 u i 1 1 1 J s t ce 1 0 . o . , 9 Plays , Sec nd Series , 9 3 'Th ittl D r a m 1 1 1 1 1 e e e . L , 9 Plays , Second Series , 9 3 . Th r ic 1 1 1 1 t n 1 . e a o . P , 9 Published , 9 5 T h i on 1 1 2 1 1 e e . e P g , 9 Publish d , 9 3 . M ood s on s an d D o er el s 1 1 2 , S g , gg , 9 . T 1 h e I n n o r an u illit 1 2 . f T q y, 9 D T h e ar k F l ow er 1 1 . , 9 3 Th u 1 1 D o o 1 1 e F itive . w o n C . g , 9 3 uck rth and mpa y , L ndon , 9 3 h M 1 1 T e ob . , 9 4 O B 1 1 A it 0 ove . L , 9 5 Th i t M n an th a tir s 1 1 e t l e a d O er e . L S , 9 5 Th F r l n 1 1 e ee a d s . , 9 5 A h a 1 1 6 S e . f, 9 ’ Unless otherwise specified Galsw o rthy s w o rks are from th e press ’ f o N o C S ew . harles Scribner s ns , York

B .

CRITI CAL B OOKS A N D ARTI CLE S

C T D ST S E LE E LI .

B er h ar H u tm an n B r a r F W . n . G t a o r B C . : W b e ehl , p , . g , erlin . ” i i C o C . : tu d es in er m n ter a tu r e i th N in eteen th n tu r . . S G a n e C e ar , J L y, M N 1 ew 0 . acmillan , York , 9 3 1 lis or t ll o t o k 1 2 . F T . om n h H N e C . : S e St e er s w ooper E g y , l , Y r , 9 Du k e r 1 2 es A : M od r n D a m a tis ts C 1 . V , shley , Sergel , hicago 9 F F W : M o G D Th e D r am a 8 : 1 2 reund , . E . . dern erman rama , 4 G H r 2 1 : 2 H . : G e 8 oet or e . oet o rumman , P erhart auptmann , P L , 5 ; P L , 22 1 1 : 7. H : Stu d ies in M od er n Ger m an iter a tu r e G Co B os eller , Otto L , inn mpany , ' ' B iblio r a h ! i f 8 1 g p y ,

H n d er so n A : Th e Ch an in Dr a m a H N ew o 1 1 g e , rchibald g g , olt , Y rk , 9 4 . H u tm an a H o o 1 L K : Ger h ar t o n G 1 . Holl , arl p , y and anc ck , L ndon , 9 3

e P D r a m a i r r ai s M o 1 1 t c o t t . How e . . : . . , P P , Secker , Lond n , 9 3

. I o n o l t Ne H : c c as s S w 1 0 . / uneker, James , cribner , York , 9 5

Ka e- S t S : oh n Gal s w or th N C y mi h , heila J y, isbet and ompany , London , f

1 9 1 6. Th M o er n Dr a m a H N e o 1 1 o . : e d w Lewis hn L , uebsch , Y rk , 9 5. ir it o M od er n Ger m an iter a tu r e H e N ew Sp f L , u bsch , York , 1 1 6 9 . e M D i er is 1 fi ld . : o G os t ar ch e ch 1 0 0 e r e E o . / M y , J hn alsworthy , L , 3J, 9 H r h ar t H u m ann F r u n s t en C . . : Ge a t s o e e ol t C U Pekary, p g , ornell niver M A 1 i 1 6. s t . y, . Thesis , 9 t : Ger h ar t H a u tm an n F B 1 8 8 S . . chlen er, Paul p , S ischer , erlin , 9 f G o i s A R . o i n h A a S e . : Stu d es o l s s oci / k mp , Plays John alsw rthy, in f E g l 1 1 tion o . C V . . 4, larendon Press , 9 3 h r H ou tm o B r n r a r B 1 1 Ger a t nn . o b e n 0 S : W . ternberg, Kurt p , g , erli , 9 ki u r lis R D a 1 t u A . ot a i oec s : N m n ecen t Ger m an r m a N ew 0 . S ; , York , 9 3 itko ski ~ Geor : er m an Dr am th in en th n tu r t . W w G a o e N e e C e . , g f y Transl H H 1 . 0 by orning olt , New York , 9 9.

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