The rats

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Data
Title: The rats
Genus: tragicomedy
Original language: German
Author: Gerhart Hauptmann
Publishing year: 1911
Premiere: January 13, 1911
Place of premiere: Lessing Theater in Berlin
Place and time of the action: Berlin at the end of the 19th century
people
  • Harro Hassenreuter, former theater director
  • His wife
  • Walburga, his daughter
  • Pastor Spitta, father of Erich Spitta
  • Erich Spitta, former theology student
  • Alice Rütterbusch, actress
  • Nathanael Jettel, court actor
  • Käferstein, student of Hassenreuter
  • Dr. Kegel, student of Hassenreuter
  • Mr. John, bricklayer foreman
  • Mrs. John, cleaner from Hassenreuter
  • Bruno Mechelke, her brother
  • Pauline Piperkarcka, maid
  • Mrs. Sidonie Knobbe
  • Selma, her daughter
  • Quaquaro, caretaker
  • Mrs. Kielbacke
  • Policeman Schierke
  • two infants

The rats. Berliner Tragikomödie is a five-act drama by Gerhart Hauptmann . The first performance took place on January 13, 1911 in the Lessing Theater in Berlin . The play takes place in Berlin at the end of the 19th century; The setting is a former barracks (Alexanderstraße 10 / corner Voltairestraße, near Alexanderplatz). Around 1880 it was inhabited by around 60 families and was popularly called "Wanzenburg". The drama is one of the late pieces from the epoch of naturalism .

The literary historian Hans Mayer called Die Ratten perhaps “Gerhart Hauptmann's most important contribution to modern world theater”, whereby it is “a very peculiar urban poetry that brings the events in the Berlin apartment building very close to expressionist urban poetry”.

Summary

Publisher's cover of the first print in 1911

Since the cleaning lady Henriette John lost her little son Adelbert at the age of eight days because he was born in poor and unsanitary conditions, fell ill with diarrhea and died, she has longed for nothing more than a second baby. When three years later the maid Pauline Piperkarcka is expecting an illegitimate child and wants to kill herself because of it, Mrs. John reassures the mother-to-be by buying the baby from her for "one hundred and twenty-three marks" (her entire savings) and later in front of the world, including hers man working abroad as a bricklayer , pretending to be her own. Pauline, however, soon regrets the "deal" because she fears the authorities might expose the hoax. She registers her child at the registry office and names Mrs. John as the foster mother. When Ms. John, confronted with this information, fears the loss of "her" child, she tries to deceive Pauline by stealing the doomed baby of the morphinist Knobbe on her . Ms. John's violent brother Bruno is supposed to intimidate and prevent Pauline from talking about the "deal", but kills Pauline when she defends himself against him. Mrs. John becomes entangled in a web of lies and eventually has to confess the truth to her husband. This feels offended in his honor and wants to leave his wife immediately, although it was not least he was the one who always wanted a second child and therefore did not want to disappoint. When the police appear and want to take the child to the orphanage, Mrs. John realizes the hopelessness of her situation and throws herself in front of a horse-drawn carriage. The conclusion of the environment is: "Only now has the child lost its mother" (Spitta), it has "become an orphan abandoned by all the world" (Frau Dir. H.), "it is now too round" (Quaquaro) like so many others in his milieu.

Parallel to this “proletarian” mother tragedy, which anticipates motifs from Brecht's didactic play The Caucasian Chalk Circle , an opposing, satirically exaggerated “bourgeois” storyline runs. His comedy scenes are of secondary importance from a dramaturgical point of view, but complete the picture of the times of the Wilhelmine Berlin milieu, which Hauptmann examines in a socially critical manner by contrasting the existential fears of the petty bourgeoisie and the proletariat with the aesthetically transfigured claims of the bourgeoisie.

The high-handed and hypocritical theater director Hassenreuter has housed his theater fund in the attic of the tenement house inhabited by Mrs. John and her husband, which is haunted by "vermin and rats", where he preaches the pathos and high morals of Schiller's idealism to some drama students while he is at the same time with Alice , one of his Elevinnen , happily . Erich Spitta, the lover of Hassenreuter's daughter Walburga and a shy former theology student who changed faculties because of the hollow preaching tone and looked for more natural and humanity in theater studies, is now also disappointed by the “sonorous bombast” of German classical music. With the grotesque rehearsals for Schiller's Die Bride von Messina in the tenement warehouse, Hauptmann takes the conventional classicist idea of ​​the theater and its relationship to society ad absurdum and instead pleads - especially in the debate (3rd act) between pupil (Spitta) and teacher (Hassenreuter) - for the realism of the new naturalistic drama.

Table of contents

first act

The first act takes place in the attic of the apartment building, where the entire play takes place. Mrs. John and Pauline Piperkarcka sit together at a table and have a discussion. The young woman Piperkarcka was abandoned by her lover, with whom she is heavily pregnant. She is completely desperate because she does not know how to raise the illegitimate baby on her own. Because of the circumstances, she cannot hope for the help of her parents or that of her father. She contemplates killing herself with the fetus but is stopped by Mrs. John. She, whose only child died as a baby, suggests that she raise the child and offers her money for it. So she and her husband would have their “own” child again and Ms. Piperkarcka would not have to fear social exclusion. In addition, the newborn is in safe hands.

Ms. John's brother Bruno Mechelke comes in and sets up mousetraps in the apartment, in which, as in the entire apartment building, there are catastrophic hygienic conditions. Ms. Piperkarcka is scared of him because of his unkempt appearance, so Ms. John sends him out of the room. A short time later he enters the room again and says that a stranger has entered the house. Since the child trafficking should of course remain secret, Ms. Piperkarcka is sent to the attic, Ms. John and Bruno remain alone in the room and argue with each other. When the footsteps get louder, Bruno also disappears into the attic.

Walburga Hassenreuter, the director's daughter, who actually wants to meet her secret lover Spitta in the attic, appears and meets Mrs. John. When you hear footsteps again, the two of them disappear into the attic, as none of them should actually be in the room or the theater fund on that Sunday. Director Harro Hassenreuter and the actor Nathanael Jettel enter the room. Jettel would like to borrow costumes from Hassenreuter's fund. However, due to Hassenreuter's arrogance towards Jettel, the two get into an argument, so that the latter leaves the building in anger.

Hassenreuter stays in the room and welcomes his affair, the actress Alice Rütterbusch. The two are interrupted by Erich Spitta, who rings the doorbell. Alice is hiding in the adjoining library. Spitta, who actually had an appointment with his lover Walburga, now meets the director. He asks him if he has any talent for acting. This vehemently denies and advises him to stick with the theology he is studying. The two then leave the building. Meanwhile, Ms. Piperkarcka (presumably) gave birth to her child in the attic. Walburga descends from the attic and exits. Director Hassenreuter re-enters the room and joins Alice.

Second act

Mr. and Mrs. John are in their apartment in the apartment building. The child lies in a pram, which Mrs. John, also opposite her husband, claims to be hers. Mr John, who reported the child to the registry office, reports that he has to correct the information again. The two quarrel over this. The daughter of the neighbor Mrs. Knobbe, Selma, enters the room with her little brother in the stroller. Ms. John quickly sends them both out again, because she is afraid that Ms. Knobbe's sick child will infect her "own".

Mr. and Mrs. Hassenreuter and their daughter Walburga enter and give the Johns an apparatus for sterilizing breast milk. Käferstein and Dr. Kegel, both of Hassenreuter's pupils, join them and give the couple a money box. Everyone toasts the newborn. Spitta enters the room, shortly afterwards Dr. Kegel and Käferstein go to acting lessons with Mr. Hassenreuter. Spitta tells Walburga that from now on he wants to devote himself to acting and no longer pursues the career of a pastor. He tried to explain his motives to his father, Pastor Spitta, in a long letter. He also confesses to her that he has broken with his father for a long time, v. a. because of his ruthlessness towards his sister, who had been cast out after a misstep and driven to her death. Walburga tells Spitta that she has known about her father's affair since their failed meeting. Pauline Piperkarcka enters the room while Walburga and Spitta leave.

Pauline wants to check on her child, but is harshly rejected by Mrs. John. It initially pretends not to know it. She goes through a constant change of feelings: On the one hand, she can understand Pauline's longing for the child, on the other hand, she herself is afraid that it will be taken away from her again. She slaps Piperkarcka in the face, but then apologizes again and seems to be subject to a change in personality. Pauline tells her that she, like Mr. John, has registered the child at the registry office and that an officer will come by the next day at five o'clock to check that everything is okay. The Piperkarcka exits and leaves a completely distraught Mrs. John.

Third act

The third act takes place again in the attic of the apartment building. Director Hassenreuter gives his students Dr. Kegel, Käferstein and now also Spitta acting lessons. Walburga and the caretaker Quaquaro are also present. Schiller's “The Bride of Messina” is rehearsed. Director Hassenreuter, who cultivates a conservative acting style based on Schiller and Gustav Freytag, is dissatisfied with the way his students present themselves. The assistant Quaquaro is instructed to search Hassenreuter's theater fund more closely, as a theft was recently discovered.

Meanwhile, a dispute has broken out between Hassenreuter and Spitta, as the two have completely different ideas about acting. Spitta, who is of the opinion that everyone can act and negates classical drama theory, becomes Hassenreuter's resolute opponent. - Meanwhile, Mrs. John and Quaquaro are coming back in. He found a riding boot in the attic , in which a milk bottle is hidden. Ms. John hurries to explain that she forgot this one when she was up with the baby. However, she looks a bit confused and announces that she will take the child to her sister-in-law in the country for a few days. - Now the doorbell rings and Pastor Spitta, Erich's father, appears and describes Hassenreuter his concerns about his son's choice of profession, since he wants to be an actor instead of a priest, which is not an honorable job for the father. He asked the director not to support this project. Angry, he shows him a photo with a dedication that he found in Erich's room. Walburga can be seen on this, and the love affair between the two is revealed. Pastor Spitta and Hassenreuter then get into an argument, whereupon the former leaves the apartment. Director Hassenreuter confronts Walburga and Erich Spitta with his new knowledge, he threatens Walburga with expulsion if she does not give Spitta the pass, whereupon the daughter counters with the knowledge of his own affair.

Piperkarcka and Ms. Kielbacke, a commercial foster mother, enter the room with an infant in their arms and ask for Ms. John, because the civil servant was there to examine the child and thought it was neglected. It comes up that Ms. John is taking care of the child, but it was alone in the apartment. Pauline, who wants to complain to Mrs. John, reports in her excitement about the "child trafficking", but Hassenreuter thinks all of this is a mix-up. In reality, the sickly child is that of the neighbor Knobbe, whom Pauline Selma took from her arms. Policeman Schierke and Mrs. Knobbe join in and a heated discussion breaks out. Both women claim to be the mother of the weak child, with Mrs. Knobbe lamenting her tragic life. Meanwhile, the young Walburga notices that the child has already died. Schierke, Frau Kielbacke, Frau Knobbe and Frau Piperkarcka leave.

Fourth act

Mr. John and Quaquaro are in the John's apartment. Mr John, who has just returned from his work in Hamburg, tells his guest that Mrs John and the child are with her sister. Quaquaro informs the ignorant Mr. John that three people had been looking in his apartment for a child that his wife was supposedly caring for, that they had taken Mrs. Knobbe's child with them and that it died shortly afterwards. One of the three was a Polish girl who claimed the child. Selma confirms that it was about her little brother. Quaquaro also reports that Bruno, Mrs. John's brother, was seen with the Polish girl, but she has now disappeared and the police are looking for him. Spitta comes in and reports that there has been a definitive break since yesterday's argument between him and his father. Walburga enters and is alone in the room with Spitta. She tells him that a violent argument has broken out within her family because of their love affair and that her father is trying to keep her away from him with threats and violence. Spitta, who is deeply disappointed in his father and the church because of their hypocrisy, is now, like Walburga, determined to run away.

A very confused Mrs. John and child enters and mumbles to herself. Spitta and Walburga then leave the room. Mr. John enters the apartment and Mrs. John awakens from her trance-like state. However, there is no clear conversation between the two as Mrs John is very anxious and confused. The two chat about the early years of their relationship and a possible emigration to the United States. Overall, however, the conversation remains very fragmentary. Bruno comes in. Mr John, who can't stand Bruno, threatens him with a revolver. Mrs. John appeases the two and her husband leaves the room.

Bruno, who was commissioned by Mrs. John to intimidate the Piperkarcka so that she no longer asks about her child, is reluctant to tell how last night went. Pauline, who was threatened with a knife by Bruno, struggled so that Bruno killed her in an affect. Mrs. John gives her brother money so that he can flee Germany and the police. Bruno gives his sister a horseshoe as a goodbye. Mrs. John is utterly desperate about how things are going by the end of the act.

Fifth act

The fifth act also takes place in the John's apartment. The apartment building was cordoned off by police officers, who no longer let anyone out. Walburga and Spitta enter the room while Mrs. John sleeps on the sofa. Mrs. Hassenreuter enters. She is strict with Walburga, but still very happy to find them intact. Mrs. John, who had already talked in her sleep before, wakes up but is still very confused and calls for Bruno. When she comes to, she is afraid that those standing by have heard something of her or Bruno's act.

Director Hassenreuter enters the apartment. He is mildly disposed towards Walburga and Spitta because his wife knew how to appease him and he was also appointed theater director in Strasbourg. However, the newspapers say that a child was found in the attic of a mask lender, which offends him. Mr. John comes and says that he suspects that Bruno's police have surrounded the house. He noticed that Mrs. John was not with her sister-in-law, as she had told him, but was in a garden colony, and is convinced that Bruno killed the Piperkarcka. His wife denies this against her better judgment.

The two get into a heated argument. Mr. Hassenreuter tries to appease and mediate. The dispute escalates, however, so that Mrs. John finally reveals to her husband that the child does not come from him. Mr. John calls for Selma Knobbe, because he just wants to leave and with her help bring the child to his sister. Selma then appears, afraid of going to court for carrying Piperkarcka's child from the attic to Mrs. John. She gossips and indicates that there was an appointment between her and Ms. John regarding the child. Cornered, she confesses the true story and tells Mrs. John the truth in the face. She then confesses to her husband that she actually does not have a child of her own. Mr. John is hurt and desperate in his honor. They verbally abuse each other. When Quaquaro and Policeman Schierke walk in, Mrs. John snatches the child and threatens to kill it and herself. Hassenreuter and Spitta snatch the child from her, whereupon Mrs. John flees the apartment. Selma, the policeman and Mr John, who is now worried about his wife, hurry after her. Shortly afterwards, Selma Knobbe storms in and reports that Ms. John has committed suicide.

background

On February 13, 1907, an article about "two cases of child misappropriation" appeared in the morning edition of the Berliner Lokal-Anzeiger . The second case concerned an Elisabeth M. who had been married since 1903, but whose marriage had remained childless. M. faked her husband's pregnancy for months until she passed the maid's child off as her own. However, this child had already received a guardian from a teacher who arrived at the M.'s. In order to be able to keep the child, M. kidnapped a child of the same age in order to pass it on to the teacher. Word of the kidnapping quickly spread and caused a large crowd in front of the victim's house. The case was resolved by the police on the same day and M. was finally sentenced to one week in prison. There is an entry in Hauptmann's diary on February 13, 1907, which refers to this case.

Important productions

Film adaptations

Radio plays

literature

Text output

  • Gerhart Hauptmann. The rats. Berlin tragic comedy . Paperback edition from Ullstein.
  • Gerhart Hauptmann. The rats. Berlin tragic comedy . Annotated edition. Edited by Peter Langemeyer. Stuttgart: Reclam, 2017 (UB 18873).

Research literature

  • Werner Bellmann : “Gutter language. Notes on Hauptmann's 'Die Ratten'. ”In: Wirkendes Wort 37, 1987, pp. 265–268.
  • Werner Bellmann: Gerhart Hauptmann. "The rats". Explanations and documents. Reclam, Stuttgart 1990, revised and supplemented edition 2008. ISBN 3-15-008187-4
  • Claus Gigl : Gerhart Hauptmann: Die Ratten ". Schöningh Verlag 2012 (Interpretation aids EinFach Deutsch ... understand)
  • Friedhelm Marx : “Schiller completely different. Gerhart Hauptmann's play with the Weimar Classic in the tragic comedy 'Die Ratten' ”. In: Journal for German Philology 115, 1996, pp. 122-136.
  • Michael Schaudig: Literature in Media Change. Gerhart Hauptmann's tragic comedy “Die Ratten” and its adaptations for cinema, radio and television. Munich 1992.
  • Gérard Schneilin: "On the development of the tragicomic in Berlin dramaturgy: Gerhart Hauptmann's 'Ratten' and Sternheim's 'Bürger Schippel'". In: Revue d'Allemagne 14, 1982, pp. 297-312.
  • Peter Sprengel: “Gerhart Hauptmann: 'The rats'. On the contrast of the worlds in a tenement ”. In: Dramas of Naturalism. Interpretations. Stuttgart 1988, ISBN 3-15-008412-1 , pp. 243-282.
  • Brigitte Stuhlmacher: “From part to whole. Gerhart Hauptmann's 'Rats' ”. In: Zeitschrift für Germanistik 4, 1983, pp. 5–24
  • Rudolf Ziesche: “Mother John and her children. On the pre- and textual history of the 'rats' ”. In: Peter Sprengel, Philip Mellen (eds.): Hauptmann research. New posts. Frankfurt am Main 1986, pp. 225-248.
  • Rüdiger Bernhardt: Gerhart Hauptmann: The rats. King's Explanations and Materials (Vol. 284). Hollfeld 2010. ISBN 978-3-8044-1862-2

Web links