Gerhart Hauptmann and his historical plays

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This book delves into Gerhart Hauptmann’s historical plays, examining his intentions and their sources. Starting with Die Weber, it reveals that Socialist and Communist ideas were more prominent in his early work than currently acknowledged. Similarly, Florian Geyer reflects modern democratic concepts like equality and freedom. Hauptmann's use of historical sources was notably free, even in his early naturalistic phases. However, in Der arme Heinrich, he meticulously considered specific historical contexts, a practice also evident in Kaiser Karls Geisel. This play, often viewed as a reflection of Hauptmann’s affair with actress Ida Orloff, is instead an indictment of early Christian missionary efforts among the Saxons. Magnus Garbe, typically seen as a late work focused on the Kulturkampf, critiques the failures of human thought rather than merely supporting the Protestant empire in Berlin. Furthermore, Der weiße Heiland, largely written during World War I, advocates for peace and negotiation rather than solely condemning brutal Spanish missionary actions. In Die schwarze Maske, Hauptmann opposes absolutism and demonstrates a careful engagement with historical sources. Lastly, Ulrich von Lichtenstein critiques the foolishness of courtly love, while Die Tochter der Kathedrale serves as a testament of inner resistance against the barbaric Nazi regime of Hauptmann’s time.