ellauri191.html on line 283: Hauptmann_nobel.jpg" class="image">Hauptmann nobel.jpg" src="https://upload.wikimedia.org/wikipedia/commons/thumb/0/05/Gerhart_Hauptmann_nobel.jpg/75px-Gerhart_Hauptmann_nobel.jpg" decoding="async" width="75" height="106" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/0/05/Gerhart_Hauptmann_nobel.jpg/113px-Gerhart_Hauptmann_nobel.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/05/Gerhart_Hauptmann_nobel.jpg/150px-Gerhart_Hauptmann_nobel.jpg 2x" data-file-width="280" data-file-height="396" />
ellauri191.html on line 285: Hauptmann" title="Gerhart Hauptmann">Gerhart Hauptmann
ellauri192.html on line 111: So the choice has fallen neither on Tolstoy, nor Ibsen, nor Björnson, nor Mommsen, nor Swinburne, nor Zola, nor Anatole France, nor Carducci, nor Mistral, nor Hauptmann, nor even Echegaray—it has fallen on Sully-Prudhomme [sic]. It is some satisfaction, however, to find that Francois Coppée is not the winner; in view of his innocuous sentimentality, he might well have been considered the best of all by the present Swedish Academy.
ellauri316.html on line 807: Jo 11. heinäkuuta Vlasovin pieni ryhmä hajosi. Vlasov ja Voronova (1. vaimo oli Voronina, ei siis sama pulu? Andreilla oli rintamalla paljon avovaimoja) menivät etsimään ruokaa Tukhovezhin kylään, jossa vanhauskoiset asuivat. Talo, johon he kääntyivät, osoittautui paikallisen vanhimman taloksi. Vlasovin ja Voronovan syödessä päällikkö soitti paikalliselle apupoliisille, jotka piirittivät talon ja pidättivät karkurit, Vlasov esiintyi itsepintaisesti pakolaisopettajana. Poliisi lukitsi heidät navettaan, ja seuraavana päivänä (12. heinäkuuta) saapui Saksan 38. armeijajoukon tiedusteluosaston päällikkö Hauptmann Max von Schwerdtner kääntäjä Sonderführer Klaus von Pelchau, avustaja Hamann ja kuljettaja Lipski pidättämään Vlasovin. Saman päivän aamuna tämä saksalainen partio oli tunnistanut Vlasovin sanomalehden muotokuvasta. Vlasovin luovuttamisesta kylän päällikkö sai Saksan 18. armeijan komennolta lehmän, 10 pakkausta shagia, kaksi pulloa kuminavodkaa ja kunniakirjan. Ei sentään kelloa.
xxx/ellauri091.html on line 241: Entä minä? Aino ystäväni oli mennyt kihloihin tohtori (Arthur) Hjeltin kanssa, ja hänen häänsä oli suunniteltu touokuuxi. Ompelin hänelle paljotöistä tsheremissiläismallista sohvatyynyä. Vai tarkastinko "Tuomenmarjojen" korehtuuria? Vai "Huoneenharjojen?" Vaiko "Suomenkarjojen?" (Nämä runovihkoni ilmestyivät sinä keväänä.) Kazoin uponnutta kelloa. Se näytti perunoita. Tai siis Hauptmannin näytelmä (jonka se oli, ukkomies elonsa vaelluxen puolitiessä, kirjoittanut muna ojossa 14-vuotiaan tytön takia, joka toisin kuin sen vaimo ymmärsi sitä ja samoin kuin se ize tykkäs vielä talviurheilusta), oli aaterikkaudestansa huolimatta hämärä ja pitkäveteinen, toisin kuin vanha testamentti. Ajatuxeni harhailivat pois lakkaamatta. Kuinka toista olisikaan ollut siellä, missä kaikki rakkaimmat toverini nyt olivat koossa Mr. Mottin sanomaa kuulemassa! Ei uponnut kello sinänsä ollut syntiä (vaikka teatterihan on, ja Hauptmann ize suuri syntinen?). Kysymys oli siitä mikä oli ensiarvoista. Eli siis kivintä. Olin langennut kiusaajan ansaan. Sillä mitään muuta ei voinut olla tämä izelleni epäedullinen menettely.
xxx/ellauri091.html on line 285: Hauptmann Gerhart">Gerhart (Johann Robert) Hauptmann (1862-1946: prominent German dramatist of the early 20th century. Hauptmann won the Nobel Prize for Literature in 1912. His naturalistic plays are still frequently performed. Hauptmann's best-known works include The Weavers (1893), a humanist drama of a rebellion against the mechanisms of the Industrial Revolution, and Hannele (1884), about the conflict between reality and fantasy.
xxx/ellauri091.html on line 292: Hauptmann's early dramas reflect the influence of Henrik Ibsen, but the production of Die Weber, a dramatization of the Silesian weavers' revolt of 1844, brought him fame as the leading playwright of his generation. Hauptmann did not only want to give realistic details, but he paid a great deal of attention to historical accuracy, and studied various dialects. His weavers are "flat-chested, coughing creatures of the looms, whose knees are bent with much sitting." The women's clothes are ragged, but some of the young girls are not without charm � they have "delicate figures, large protruding melancholy eyes." Structurally the play, which was at first banned, was innovative � there is no single, individual hero in the cast of more than 70 characters. (Didn't exceed the 80 character limit of first generation mainframe computers.)
xxx/ellauri091.html on line 294: Die versunkene Glocke (1897), a symbolic story of a master bell founder and his struggle as an artist, has been one of Hauptmann's most popular plays. After this Hauptmann wrote the tragedies Fuhrmann Henschel (1899), Michael Kramer (1900), and Rose Bernd (1903). These works also reflected the personal turmoil Hauptmann was then in he had fallen for a fourteen-year-old girl, a promising violinist Margarete Marschalk. She was the opposite of his wife, interested in his work, and in such outdoor sports as hiking, ice-skating, andf skiing. After Hauptmann wife found out about her rival, she moved with the children to Dresden. Hauptmann had a son, Benvenuto, with Margarete, and in 1904, after a long period of agonising thought, Hauptmann divorced Marie and married Margarete. However, a year later he met a sixteen-year-old actress, Ida Orloff, who became a new object of his obsession. Hauptmann described her in his letters as a moth flirting with flames, as a bewitching Siren, as a mermaid, and as a cruel spider.
xxx/ellauri091.html on line 296: Gerhart Hauptmann was born in Ober-Salzbrunn (now Szczawno Zdrój, Poland), a fashionable resort in Silesia. His father was Robert Hauptmann, a hotel owner, and mother Marie (Straehler) Hauptmann. After failing at the gymnasium in Breslau, Gerhart was sent to his uncle's estate. There he became aware of Pietism and learned to know the peasants with whom he worked. Already as a child Hauptmann had started to draw, and he entered the art academy in Breslau, intending to become a sculptor. At the age of twenty he moved to Jena, where he studied history at the university.
xxx/ellauri091.html on line 298: From 1883 to 1884 Hauptmann studied art in Rome and wrote a romantic poem based on the myth of Prometheus. Ill health forced him to return to Germany. In 1885 he married Marie Thienemann; they had four children. Marie Thienemann was a beautiful, rich heiress, whom he had met in 1881, and who supported him through the four years of their engagement. Hauptmann settled with Marie in Berlin. She admired her husband, but did not much understand literature and was devastated when Gerhart's attention strayed. However, her wealth gave him the freedom to start his career as a writer.
xxx/ellauri091.html on line 300: In 1885 Hauptmann set up a home with his wife in the little lakeside village of Erkner. Abandoning his early romantic ideals, he became convinced that life should be depicted as it is. From the intellectual currents of his day he adopted a belief in scientific causality and materialism. His early stories 'Fasching' (1887) and 'Bahnwärter Thiel' (1888) were tales of simple people, although there is also a level which transcends the boundaries of realism.
xxx/ellauri091.html on line 302: Throughout the Nazi regime, Hauptmann remained in Germany, which Goebbels used as a propaganda tool, claiming that he had made his peace with the Nazis. The Third Reich refused to allow him to receive the Schiller Prize, for which he was almost continuously recommended. A complete seventeen- volume edition of his works came out in 1942. Hauptmann died on June 6 1946 of pneumonia, at his home in Agnetendorf. His last work, the unfinished Der neue Christophorus, was again a story of suffering humanity.
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