He knows how to write a play. This play would succeed in foreign countries where the Hauptmann and Schnitzler plays would fall down. The reason is because of the strong theatrical quality of the piece, and the grateful r?le for the heroine, a r?le that might have been written in Paris; indeed, the entire work, despite its local flavour, recalls the modern Parisian theatre of Bernstein & Co., because of its cynical10 satire11, its mysterious intrigue12, its doors and bells, its numerous exits and entrances.
A woman, rather a superwoman, the Baroness13 von Tanna, sacrifices her name—not of the best because she flirts—to save the good, nay15, spotless reputation of her dearest friend, a millionaire's wife—who, in a "mad moment" (Aha!) becomes the beloved of a certain fascinating Max, a young and handsome ne'er-do-well. To add to the piquancy16 of the situation, the baroness, a beautiful woman, and not, like her friend, the mother of children, is entangled17 in the same net; she, too, adores Max the heart crusher, though she will not cross the Rubicon for his silly sake. The usual "triangle" becomes star-shaped, for a new feminine [Pg 219] presence appears, a girl who is matched to marry the fatal Max. That makes five live wires; two husbands, two wives, a na?ve virgin18, with Max as inaccessible19 as a star. But after a capital exposition, Sudermann gets us in a terrible state of mind by making the lady with the good reputation go off in a hysterical20 crisis, and almost confess to her stiff, severe husband—who is a maniac21 on the subject of his house being above suspicion. The charming, reckless baroness intervenes at the crucial point, becomes a lightning-rod that draws the electric current, and pretends to be the real culprit. Her husband, a sinister22 baron14 and ex-lieutenant in the Hussars, is present. A duel23 with Max is the result. In the last act, after she has been subjected to all kinds of ignominy, Baroness Dorrit von Tanna, without confessing, is socially rehabilitated24. Skim-milk in this instance has passed for cream, the prudish25 millionaire's wife, her honour saved for the world at large, is now revealed as a hypocrite to her astounded26 and snobbish27 husband. The curtain falls on a maze28 of improbabilities, with the baroness in the centre.
For people who don't take their theatre seriously, i. e., neither as a fencing ground for propagandists nor for puling poets, this new Sudermann piece will please. It has triumphed in Berlin and Munich. Its people are portraits taken from fashionable West End Berlin, while the dialogue, witty29, incisive30, and also characteristic, [Pg 220] is one of the consolations31 of a play that does not for a moment produce any illusion. There are plenty of striking episodes, but logic32 is lacking, not only the logic of life, but the logic of the theatre. No living playwright33 knows better how to arouse suspense34 than Sudermann, and he can't make us believe in his false theme, consequently his motivation in the last two acts is false and disappointing. But there is the old Sudermann pyrotechnical virtuosity35, the fireworks dazzle with their brilliancy, and you think of Paris, and also that some drama may be divorced from life and literature and yet be interesting. Insincere as is the dénouement, the note of insincerity was absent in the acting36 of the cast. The honours were easily borne away by a pretty Viennese actress from the Volks Theatre there, Elsa Galafrés by name, whose methods are Gallic, whose personality is charming. Critical Berlin has taken her to itself, and her theatrical fortune is made. It may be confessed that her part, despite its artificiality, is one that any actress in the world would jump at. Sudermann is a conjurer. His puppets are all agreeable, and, in one instance, vital: the father of the baroness, a financier, who could be easily turned into a "heavy" conventional father, but, as played by Hermann Nissen, is a positively37 original characterisation. Max the butterfly (Ernst Dumcke) was wholly admirable. I shall be very much surprised if Der gute Ruf does not soon appear on the stage of other [Pg 221] lands. Its picture of manners, its mundane38 environment, its epigrams and dramatic bravoura will make it welcome everywhere. Sudermann is still Klingsor, the evoker39 of artificial figures, not the poet who creates living men and women.
点击收听单词发音
1 thereby | |
adv.因此,从而 | |
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2 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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3 machinery | |
n.(总称)机械,机器;机构 | |
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4 precisely | |
adv.恰好,正好,精确地,细致地 | |
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5 variant | |
adj.不同的,变异的;n.变体,异体 | |
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6 motive | |
n.动机,目的;adv.发动的,运动的 | |
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7 malleable | |
adj.(金属)可锻的;有延展性的;(性格)可训练的 | |
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8 scrambles | |
n.抢夺( scramble的名词复数 )v.快速爬行( scramble的第三人称单数 );攀登;争夺;(军事飞机)紧急起飞 | |
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9 alley | |
n.小巷,胡同;小径,小路 | |
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10 cynical | |
adj.(对人性或动机)怀疑的,不信世道向善的 | |
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11 satire | |
n.讽刺,讽刺文学,讽刺作品 | |
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12 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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13 baroness | |
n.男爵夫人,女男爵 | |
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14 baron | |
n.男爵;(商业界等)巨头,大王 | |
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15 nay | |
adv.不;n.反对票,投反对票者 | |
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16 piquancy | |
n.辛辣,辣味,痛快 | |
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17 entangled | |
adj.卷入的;陷入的;被缠住的;缠在一起的v.使某人(某物/自己)缠绕,纠缠于(某物中),使某人(自己)陷入(困难或复杂的环境中)( entangle的过去式和过去分词 ) | |
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18 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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19 inaccessible | |
adj.达不到的,难接近的 | |
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20 hysterical | |
adj.情绪异常激动的,歇斯底里般的 | |
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21 maniac | |
n.精神癫狂的人;疯子 | |
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22 sinister | |
adj.不吉利的,凶恶的,左边的 | |
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23 duel | |
n./v.决斗;(双方的)斗争 | |
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24 rehabilitated | |
改造(罪犯等)( rehabilitate的过去式和过去分词 ); 使恢复正常生活; 使恢复原状; 修复 | |
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25 prudish | |
adj.装淑女样子的,装规矩的,过分规矩的;adv.过分拘谨地 | |
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26 astounded | |
v.使震惊(astound的过去式和过去分词);愕然;愕;惊讶 | |
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27 snobbish | |
adj.势利的,谄上欺下的 | |
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28 maze | |
n.迷宫,八阵图,混乱,迷惑 | |
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29 witty | |
adj.机智的,风趣的 | |
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30 incisive | |
adj.敏锐的,机敏的,锋利的,切入的 | |
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31 consolations | |
n.安慰,慰问( consolation的名词复数 );起安慰作用的人(或事物) | |
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32 logic | |
n.逻辑(学);逻辑性 | |
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33 playwright | |
n.剧作家,编写剧本的人 | |
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34 suspense | |
n.(对可能发生的事)紧张感,担心,挂虑 | |
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35 virtuosity | |
n.精湛技巧 | |
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36 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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37 positively | |
adv.明确地,断然,坚决地;实在,确实 | |
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38 mundane | |
adj.平凡的;尘世的;宇宙的 | |
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39 evoker | |
产生,引起; 唤起 | |
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