The stress of the life effort and the certainty of death, groping forth from delicate intimacies, ripened the fineness and sweetness of this man's soul. The picture contains transitoriness, finiteness, yet also a vista of new formation, new land.
Of Gerhart Hauptmann one can say, his art has given meaning to the idea of human love, which in this period is looked upon with suspicious eyes as a bad coin, a new impetus, the reality and symbolic depth of which grips the heart. Out of his books one can draw life more than literature. A strong soul-similarity with Tolstoi might be observed, I think, if Hauptmann were a fighting spirit.
I met the poet among the weavers of the Eulengebirge, Silesia, in the districts of greatest human misery, February, 1891, in Langenbielau, the large Silesian weaving village. One evening, on my return from a journey, I was informed that a tall gentleman in black had inquired for me. The name of the stranger was Gerhart Hauptmann, who came to study the conditions of the weaving districts. The visitor had taken lodgings in the "Preussischen Hof," where I called on him the same evening, with joyous expectation. The name of Gerhart Hauptmann in those days seemed to contain a watchword, a battle call: not only against the unimportant thrones of literature at that time but also against social oppression, prejudices and moral crippling. Hauptmann's first drama, "Vor Sonnenaufgang," had just appeared and been produced by the Free Stage in Berlin; and had operated like an explosive. It was followed by a flood of vicious and vile criticism. The literary clique little imagined that the future held great success for such "stuff" both in book form and on the stage.
This lamentable lack of judgment misled the various pot-boiler writers to attack the new tendency with the most repulsive arguments. One leading paper of those days wrote of Hauptmann as an individual of a pronounced criminal physiognomy, of whom one could expect nothing else but dirty, appalling things.
Such literary highway assaults made one feel doubly happy over the fact, that together with Hauptmann were a few splendidly armed fighters, like the aged Fontane, with his great poise and fine exactness.