Old Hilse. O Lord, we know not how to be thankful enough to Thee, for that Thou hast spared us this night again in Thy goodness ... an' hast had pity on us ... an' hast suffered us to take no harm. Thou art the All-merciful, an' we are poor, sinful children of men—that bad that we are not worthy to be trampled under Thy feet. Yet Thou art our loving Father, an' Thou wilt look upon us an' accept us for the sake of Thy dear Son, our Lord and Saviour Jesus Christ. "Jesus' blood and righteousness, Our covering is and glorious dress." An' if we're sometimes too sore cast down under Thy chastening—when the fire of Thy purification burns too ragin' hot—oh, lay it not to our charge; forgive us our sin. Give us patience, heavenly Father, that after all these sufferin's we may be made partakers of Thy eternal blessedness. Amen.
The tide is rushing on. Luise, Old Hilse's own daughter-in-law, is part of the tide.
Luise. You an' your piety an' religion—did they serve to keep the life in my poor children? In rags an' dirt they lay, all the four—it didn't as much as keep 'em dry. Yes! I sets up to be a mother, that's what I do—an' if you'd like to know it, that's why I'd send all the manufacturers to hell—because I am a mother!—Not one of the four could I keep in life! It was cryin' more than breathin' with me from the time each poor little thing came into the world till death took pity on it. The devil a bit you cared! You sat there prayin' and singin', and let me run about till my feet bled, tryin' to get one little drop o' skim milk. How many hundred nights has I lain an' racked my head to think what I could do to cheat the churchyard of my little one? What harm has a baby like that done that it must come to such a miserable end—eh? An' over there at Dittrich's they're bathed in wine an' washed in milk. No! you may talk as you like, but if they begins here, ten horses won't hold me back. An' what's more—if there's a rush on Dittrich's, you will see me in the forefront of it—an' pity the man as tries to prevent me—I've stood it long enough, so now you know it.
Thus the tide sweeps over Old Hilse, as it must sweep over every obstacle, every hindrance, once labor awakens to the consciousness of its solidaric power.
An epic of misery and revolt never before painted with such terrific force, such inclusive artistry. Hence its wide human appeal, its incontrovertible indictment and its ultra-revolutionary significance, not merely to Silesia or Germany, but to our whole pseudo-civilization built on the misery and exploitation of the wealth producers, of Labor. None greater, none more universal than this stirring, all-embracing message of the most humanly creative genius of our time—Gerhart Hauptmann.
[THE SUNKEN BELL]
The great versatility of Gerhart Hauptmann is perhaps nowhere so apparent as in "The Sunken Bell," the poetic fairy tale of the tragedy of Man, a tragedy as rich in symbolism as it is realistically true—a tragedy as old as mankind, as elemental as man's ceaseless struggle to cut loose from the rock of ages.
Heinrich, the master bell founder, is an idealist consumed by the fire of a great purpose. He has already set a hundred bells ringing in a hundred different towns, all singing his praises. But his restless spirit is not appeased. Ever it soars to loftier heights, always yearning to reach the sun.
Now once more he has tried his powers, and the new bell, the great Master Bell, is raised aloft,—only to sink into the mere, carrying its maker with it.
His old ideals are broken, and Heinrich is lost in the wilderness of life.