BY GERHART HAUPTMANN
TRANSLATED BY
JANET ACHURCH
AND
C. E. WHEELER
LONDON
DUCKWORTH & CO.
3 HENRIETTA STREET, W.C.
MDCCCC
PREFACE
A few words about the author of “Friedensfest,” which is here translated as “The Coming of Peace,” will possibly be of interest to readers. Gerhart Hauptmann, who is still a comparatively young man, is as yet little known to English readers, and wholly unknown to English play-goers, except for the performance of this play under the auspices of the Stage Society on the 10th of June 1900, which has given occasion for this translation. In German-speaking countries he is recognised by many as the greatest modern dramatist with the single exception of Henrik Ibsen.
He is certainly the only dramatist who, writing under the inspiration of the great Norwegian poet, can by any remotest possibility be considered to have advanced a step beyond his master in dramatic treatment of the inner social forces of modern life.
It is not my intention here to do more than draw attention to the place Friedensfest occupies chronologically among its author’s works, and to point out its probable source of inspiration. Those who wish to trace the author’s career up to three years ago—he is now only thirty-eight—may be recommended to read “Gerhart Hauptmann, sein Lebensgang und seine Dichtung,” written just after the publication of “Die Versunkene Glocke,” by Dr Paul Schlenther, the gifted critic, now manager of the Vienna Court Theatre. I may, perhaps, be allowed to quote the final sentences of that book to show the high hopes entertained in Germany of Hauptmann’s future. “At thirty-five years old,” writes Dr Schlenther, “he is a famous man. He stands at life’s zenith. Half the Scriptural age lies behind him. The best years of the strength and ripeness of manhood lie close ahead of him. We wait for what shall come.”