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Those who witness a performance of Gerhart Hauptmann's "Hannele" and fail to be stirred by the grandeur and depth of that masterpiece, regardless of its petty poorhouse atmosphere, deserve to see nothing else than the "Wizard of Oz."

"This is my own dope," he whispered; "it may be wrong. Anyway, it's only for your private information." He waited until, with a smile, Everett agreed to secrecy. "Chet Ward," protested the consul, "is no more an archaeologist than I am! He talks well about Cobre, and he ought to, because every word he speaks is cribbed straight from Hauptmann's monograph, published in 1855.

He lived by his wits in Paris and London, learned two languages, met that underworld which later was to figure in his vital dramatic pictures, wrote advertisements for a canned soup in Hauptmann's early play, Friedensfest, Wedekind is said to figure as Robert, who is a réclame agent was attached to circuses, variety theatres, and fairs, was an actor in tingletangles, cabarets, and saw life on its seamiest side, whether in Germany, Austria, France, or England.

Her husband imagined she had gone to see one of Hauptmann's pieces played for the first time and she could also go there later on, for surely Wolfgang must soon come home now. In answer to her letter of inquiry he had written that he had a cold, and stopped at home in the evenings.

There was a striking illustration of this in 1913 when the Kaiser had Hauptmann's historical play suppressed because it represented Frederick William III. in true light, as putty in the hands of Napoleon. There is a small group of German professors interested solely in scientific research, such as Professor Roentgen and the late Professor Ehrlich, which we exclude from the "puppet professors."

The hauptmann was both sorry and glad on that account; sorry because he would automatically drop into a subordinate position when other German officers superior in rank came in with the column; glad, since there would be sufficient Europeans to overawe the iron-disciplined yet mutinous native troops. The appearance of the German sergeant-major interrupted the hauptmann's reveries.

Since that evening Fraülein Göritz has followed Professor Hauptmann's brilliant career with a certain interest and perplexity. He has ceased to be an Extraordinarius, but his promotion was based on his ingenious researches in Vandalic.

Fraülein Linda Göritz is, if something of a sentimentalist, also a bit of an analyst, and when, in the train, she learned that the spearhead was lost she accepted Hauptmann's cheerful comment with a certain scepticism.

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.

Too methodical one, too fiery the other. In duets of Hauptmann's, with Nesta at the piano, the contrast of dull smoothness and overstressed significance was very noticeable beside the fervent accuracy of her balanced fingering; and as she could also flute, she could criticize; though latterly, the flute was boxed away from lips that had devoted themselves wholly to song: song being one of the damsel's present pressing ambitions.