economic slaves of the same mental calibre. The influence of wealth, both on the victims who created it and the possessor thereof, is shown in the most vivid colors, as resulting in drunkenness, idiocy, and decay. But the most striking feature of Vor Sonnenaufgang, the one which brought a shower of abuse on Hauptmann's head, was the question as to the indiscriminate breeding of children by unfit parents.
During the second performance of the play a leading Berlin surgeon almost caused a panic in the theatre by swinging a pair of forceps over his head and screaming at the top of his voice: "The decency and morality of Germany are at stake if childbirth is to be discussed openly from the stage." The surgeon is forgotten, and Hauptmann stands a colossal figure before the world.
When Die Weber[1] first saw the light, pandemonium broke out in the land of thinkers and poets. "What," cried the moralists, "workingmen, dirty, filthy slaves, to be put on the stage! Poverty in all its horrors and ugliness to be dished out as an after-dinner amusement? That is too much!"
Indeed, it was too much for the fat and greasy bourgeoisie to be brought face to face with the horrors of the weaver's existence. It was too much because of the truth and reality that rang like thunder in the deaf ears of self-satisfied society, J'Accuse!
Of course, it was generally known even before the appearance of this drama that capital can not get fat unless it devours labor, that wealth can not be hoarded
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- ↑ The Weavers.
