Books: Moral

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Moral

Ludwig Thoma

INTRODUCTION

Dr. Ludwig Thoma, perhaps better known to his Bavarian countrymen
as Peter Schlemiehl, was born in Oberammergau on January 21, 1867.
After graduating from a gymnasium in Munich, he studied at the
School of Forestry at Aschauffenburg. He did not finish his course
there, but entered the University at Munich and received his
degree as Doctor Juris in 1893.

A year later Dr. Thoma began to practice law; but he abandoned
that pursuit in 1899 to follow a career for which his inclinations
and talents so happily fitted him.

He had been writing humorous verses for Simplicissimus for several
years under the pen name of Pete Schlemiehl, with such success
that the paper almost became identified by that name. These poems
were later published in book form under the title--Grobheiten.

His prose writings in Bavarian dialect as well as his boyhood
experiences entitled, Lausbubengeschichten, won a large and warm
audience. In 1899 he became the editor of Simplicissimus. From
then on his renown grew. The foremost critics of German letters
began to take notice of this "Bavarian Aristophanes" and to
compare him to Heine and the classics.

When Moral and Lottchen's Birthday appeared, while the reviewers
shook their heads and stated that Dr. Thoma was shocking (so in
original) they concluded that their author was "casting a long
shadow." To-day Dr. Thoma is a recognized figure in Germany. Prof.
Robert F. Arnold in "Das Moderne Drama" (Strassburg, 1908) ranks
him next to Hauptmann. His writings are numerous. A vein,
satirical and humorous, with a conception of the pathetic, makes
him more than an equal to Mark Twain. In addition he is possessed
of a message, which he delivers in the Moral.

First produced in 1908 the play soon became a part and parcel of
the repertoire of the leading theatres in Germany. It was put on
for the first time in New York, in German, at the Irving Place
Theatre in the spring of 1914, through the efforts of the late
Heinrich Matthias and the writer. Mr. Matthias then played the
part of Beermann. Mr. Christians, the director, repeated the
performance a number of times that season, each performance
meeting with a warm response.

The late Percival Pollard was the first American critic to
emphasize the importance of Dr. Thoma's work in his excellent
resume of contemporary German literature: Masks and Minstrels of
Modern Germany. He pointed out "that no country where hypocrisy or
puritanism prevail as factors in the social and municipal conduct
should be spared the corrective acid of this play."

H. L. Mencken and George Jean Nathan for many years have sung
praises of the Moral in the Smart Set. But its production on the
English speaking stage still remains an event eagerly to be
awaited. Briefly, the play is a polemic against the "men higher
up," churchmen, reformers, and social hypocrites.

The translation follows the text implicitly. Four different
versions were made all varying in a degree from the original, and
although Dr. Thoma wrote to the writer "bin auch damit
einverstanden dass Sie in der Ubersetzung meines Schauspieles
'Moral' etwaige Aenderungen oder Adaptiereungen, die durch die
englisch-amerikanischen Verhaltnisse und den Geschmack des
amerikanischen Theatrepublikums geboten erscheinen, in
entsprechender Weise vornehmen ..." it was deemed best for
purposes of publication to try to preserve the original atmosphere
without an attempt to even transpose such phrases as Gnadige Frau,
or Herr Kommerzienrat.

CHARLES RECHT.

New York, October, 1916.

PERSONS OF THE PLAY

FRITZ BEERMANN, a wealthy landowner and banker.

LENA BEERMANN, his wife.

EFFIE BEERMANN, their daughter.

KOMMERZIENRAT ADOLPH BOLLAND, capitalist and manufacturer

CLARA BOLLAND, his wife.

DR. HAUSER, an ex-judge.

FRAU LUND, an old lady.

HANS JACOB DOBLER, a poet.

FRAULEIN KOCH-PINNEBERG, an artiste.

PRIVATDOZENT DR. WASNER, a gymnasium professor.

FREIHERR VON SIMBACH, the Police Commissioner of the Duchy.

ASSESSOR OSCAR STROEBEL, a police official.

MADAME NINON DE HAUTEVILLE, a lady of leisure.

FREIHERR GENERAL BOTHO VON SCHMETTAU, also known as Zurnberg,
A Gentleman-in-waiting and Adjutant to His Highness, the
Duke.

JOSEPH REISACHER, a clerk of the Police Department.

BETTY, a maid at Beersmann's.

Two man-servants and a policeman.

THE PRESUMPTION

The esteemed, sensitive public will assume that the action takes
place in Emilsburg, the capital of the Duchy of Gerlestein. The
first and third acts occur in the house of Herr Fritz Beermann;
the second act, in the Police Headquarters. It all happens between
Sunday afternoon and Monday evening.

To be free from blame, the producers will please note that:

BEERMANN is in the fifties; jovial; lively; with gray side-
whiskers and chin carefully shaved.

FRAU BEERMANN is in the late forties, though youthful looking for
her age.

FRAU LUND. sixty-eight; a woman of impressive appearance; her
manner is energetic; her mass of white hair is carefully
coiffured.

FRAU BOLLAND. about forty-five; stout; talkative.

DR. WASNER. a tall German professor with full blond beard; deep
voiced; wears pince-nez with black tortoise shell rim and broad
black cord.

HANS JACOB DOBLER. is a poet; he is dressed in a poor fitting cut-
away coat; unkempt mustache and Van Dyke beard.

FRAULEIN PINNEBERG, a feminist, wears a loose fitting gown.

DR. HAUSER. fifty; smooth shaven; wears gold rimmed spectacles,

VON SCHMETTAU, sixty; remains stately looking with effort;
military bearing.

MADAME DE HAUTEVILLE--indefinitely twenty; her ultra-fashionable
Parisian gowns invite the cloak and suit patrons.

"MORAL"

ACT I

FURTHER APOLOGY

(Card room in Beermann's house. In the background a swinging door
opens into the dining room. To the right a smaller door leads to
the music room. On the left side another door opens into the
entrance hall. To left upstage in a corner a small card table with
chairs. To right upstage a large sofa and comfortable chairs.
Parallel to background down stage, tea table with coffee service
thereon; near it to right, smaller table, on it a humidor.

A butler is engaged at the tea table, another man servant is
holding swinging door open. [Business of getting up from table.]
Many voices and rattle of chairs are heard from dining room.
Through swinging doors enters Bolland and Frau Beermann, Beermann
with Frau Bolland, Dr. Hauser with Effie, Dr. Wasner with Fraulein
Koch-Pinneberg, Dobler alone.)

General greeting of "Mahlzeit."

Dr. Wasner is vigorously shaking hands--going to Frau Beermann
says, "Ich wunsche Gesegnete Mahlzeit."

The servants pass around coffee--Beermann conversing with Bolland
comes down stage ...

BOLLAND. You will receive two thousand votes more than the
Socialists. That's certain.

BEERMANN [skeptical]. No,--no.

BOLLAND. If all the Liberals combine with the Conservatives, the
result cannot be in doubt.

BEERMANN [taking coffee from the servant]. If ...

BOLLAND. Fusion is here. It's the logical development. I am an old
politician. The time for discussion is over. Now it's a straight
fight to a finish.

DR. WASNER [coming nearer]. The German fatherland is rallying to
the support of the national flag.

BEERMANN. But there are controversies everywhere. I know best. I
always am told by campaign managers: don't say this and don't say
that.

BOLLAND. In what way?

BEERMANN. For instance, I'm to speak at the Liberal Club the day
after to-morrow. You would not expect me to say the same things I
told the Conservatives last night ...?

BOLLAND. Your details, of course, must differ. But fundamentally
it amounts to the same thing.

BEERMANN. The same thing? Believe me, all this masking confuses
me. [Drinks.]

EFFIE [calling across the tea table where she has been standing
with others]. Papa! Listen to Frau Bolland. She also says that the
Indian Dancer is so interesting.

FRAU BOLLAND. Positively won--derful, Herr Bolland! You can
conceive the entire spirit of the Orient,

EFFIE. Why haven't we gone to see her?

FRAU BOLLAND. You surely ought to go. Professor Stohr--you know
him--told me he never in his life saw anything so gorgeous.

FRAULEIN KOCH-PINNEBERG. She's so picturesque in her greenish
gowns.

FRAU BOLLAND. I did not know that the Hindoos could be so
charming.

BEERMANN. We'll have a look at her some night.

EFFIE. But to-morrow night is her last appearance.

BEERMANN [going to the humidor]. Very well darling. Will you
remind me of it to-morrow? [Taking a box of cigars offers one to
Dobler who is standing near him.] Smoke?

DOBLER [taking one]. Thanks. But I am not accustomed to the
imported ones.

BEERMANN [patronizingly]. You'll get used to high living soon
enough.

BOLLAND [to Dobler]. How long have you been in the city now?

DOBLER. Two years.

BOLLAND. And before that you were in ... eh?

FRAU BOLLAND. You must excuse him Herr Dobler. Why in
Unterschlettenbach, dear ... You know that!

BOLLAND [correcting himself]. Certainly. Bit of literary history.
Mighty interesting place that Unterschlettenbach ... eh?

DOBLER. Hardly, Herr Kommerzienrat. Poor and unsanitary. Most of
its inhabitants are miners.

BOLLAND. Fancy that! And I never knew it. Full of miners! Tell me
though, what do you think of our set here ...? How do you like
this well-to-do circle ... the big city ... wealthy surroundings?

DOBLER [lighting a cigar]. I like it well enough. But I think I
will always feel out of place here.

BOLLAND. Can't get used to it?

DOBLER. Everything is so different. It seems to me at times as
though I had suddenly entered a beautiful house while outdoors my
old comrade was awaiting me patiently--the open road.

FRAU BOLLAND. Isn't that won--derful? So very re-a-lis-tic-ally
put! I can just picture it. Oh Herr Dobler ... I must tell you:
your novel--my husband and I talk about it all day long.

BOLLAND. Tell me though--did you yourself experience the life of
that young man you describe?

DOBLER. It's the story of my youth.

BOLLAND. But it's somewhat colored by poetic imagination?

DOBLER. N---o.

BOLLAND. For instance, you have never actually starved?

DOBLER. Oh, yes. There's no imagination in that.

BOLLAND. Just the way you describe it--so that everything turned
red?

DOBLER. Everything had a pink color. On one occasion I did not eat
anything for four and one-half days.

FRAU BEERMANN [compassionately]. You poor thing!

FRAU BOLLAND. That's exceedingly interesting!

BOLLAND. Do tell us all about it! Then you saw dancing fires?

DOBLER. Yes. Everything danced before my eyes, and I saw it all
through a hazy veil, and towards the end my hearing was affected.

BOLLAND. You don't say so? Your hearing also?

DOBLER. When any one spoke to me it sounded as if he stood a great
distance off--a great distance.

FRAU BOLLAND. Our set never dreams of such things.

BEERMANN. How did it all turn out?

DOBLER. What do you mean?

BEERMANN. Well, in the end you got something to eat again?

DOBLER. Finally I fainted; I was found lying in a meadow, and was
taken to the hospital.

FRAU BEERMANN [sighing]. Are such things still possible in our
day?

FRAU BOLLAND. What can you expect--of these idealists! DR. HAUSER.
They deserve nothing better.

BEERMANN. And after you were in the hospital--how did you get
out?

DOBLER. As soon as I got stronger. Later on I became a printer--
found a position--studied and published my book.

BEERMANN. That's all in your novel, I know. But the part where you
describe how you were a tramp--that's not true?

DOBLER. Yes, I "hoboed" almost a whole year.

FRAU BOLLAND. "Hoboed!" Fancy that! How unique!

FRAULEIN KOCH-PINNEBERG. I can just picture it. Tramping along the
railroad tracks.

DOBLER. Yes. You folks think you can picture it with four square
meals a day. But it's quite different, I assure you. There were
three of us at that time. We worked our way from Basel upwards--
sometimes on the left--sometimes on the right bank of the Rhine.
In Worms we spent the last of our money and we had to PEDDLE for
HAND-OUTS.

FRAU BOLLAND [not understanding him]. "Handouts?" What is that?

DOBLER [with pathos]. To beg for something to eat, gnadige Frau,
for our daily bread.

[They all remain silent. Only the voice of the butler who is
serving liqueur can be heard.] "Cognac monsieur! Chartreuse!
Champagne?"

BEERMANN [taking a glass]. To a man of refinement, such an
existence must have been quite unbearable.

DOBLER [taking a glass of cognac from the butler]. Unpleasant.
[Drinking.] But you lose your sensitiveness. At first it is hard--
but one learns. In one hot day on the road ... when you get fagged
out--and with every stone hurting your feet--you'll learn. The
dust blinds you--but you've got to go on just the same. In the
evening you come to a small hamlet with smoke curling above the
house-tops and the houses themselves look cozy--then you have to
hold your hat in your hand and beg for a plate of warm soup. [A
short pause.]

DR. WASNER [deep bass voice]. Home sweet home!

BOLLAND. The story reminds me exactly of my late father.

FRAU BOLLAND. But, Adolph!

BOLLAND. Indeed, I say it does!

FRAU BOLLAND. How can you draw such a comparison? Herr Dobler has
become a celebrated poet.

BOLLAND. My father also achieved something in life. At his funeral
four hundred employees followed the coffin.

FRAU BOLLAND [impatiently]. We've heard that before ... Herr
Dobler, did you write poetry in those days?

DOBLER. No, Frau Bolland. Much later.

FRAU BOLLAND. I'll have to read your novel all over again, now
that I know it is all autobiographical.

FRAU BEERMANN [to Dr. Wasner]. You were going to sing, Herr
Professor?

DR. WASNER. I promised ...

FRAU BEERMANN. Yes, do, Effie will accompany you.

DR. WASNER. If Fraulein will be so kind ... but I don't know how
my voice is to-day ...

FRAU BOLLAND. You sing so beauti-ful-ly.

DR. WASNER. So much campaign work. Politics corrupts even the
voice.

FRAULEIN KOCH-PINNEBERG. Do oblige us.

[Frau Bolland, Frau Beermann, Dr. Wasner, Fraulein Koch, Effie go
out into the music room.]

BEERMANN. It's a pity that the professor is going to sing. We
could have started a game of skat. Have some more cognac?

DR. HAUSER. No, thanks.

DOBLER. Thanks. No more for me.

[Bolland seats himself on sofa; Dr. Hauser and Dobler sit in
chairs; Beermann lights a fresh cigar. The butler goes into the
music room and as he opens the door, the sound of the piano is
heard.]

BOLLAND. As I said before Herr Dobler, your story reminded me very
much of my late father.

DR. HAUSER. Of the well known Kommerzienrat Bolland?

BOLLAND [sinks deep into chair; crosses legs]. Never mind he was
not always a wealthy Kommerzienrat. [Turning to Dobler.] Picture
to yourself a winter landscape--it's bitter cold--a gray sky--it
is snowing and everything is wrapped in snow. Through all this we
see a youth walking--rather staggering--along the forest road
from Perleberg. A half starved young man. [He pauses and brushes
ashes from his cigar. The butler enters from the music room to get
a glass of water; then he goes out again. While the door is open,
the trembling bass baritone voice of Prof. Wasner is heard.]

"In deinen Augen hab ich einst gelesen Von Lieb' und--Gluck--von
Lieb' und Gluck den Schein...."

[Footnote: (Translated):--"In thy dear eyes I once read the story
Of love and Joy--of Love, And Joy agleam...."]

[The door closes and the sound is shut off.]

BOLLAND [now continues his speech]. And now the snow falls faster
and faster. This poor young man had par tout nothing to eat since
the morning. He becomes very weak; sits down on a bundle of twigs
and falls asleep. Just by sheer chance it happens that a man from
Perleberg passing by sees this dejected, snowed-in figure and
takes the young fellow home with him. [He pauses.] And this young
man later became my father ...

HAUSER. And Herr Kommerzienrat Bolland.

BOLLAND. Yes. Herr Kommerzienrat Bolland. [To Dobler.] Now don't
you consider it quite remarkable? Wouldn't that make a fine novel?

DOBLER. Yes ... Yes.

BOLLAND. That could be worked up very nicely, couldn't it? A poor
young man--the snow covered landscape ...

HAUSER. And that bundle of twigs.

DOBLER. Fortune has her unique whims and likes to turn the tables.

BOLLAND. That's it exactly. Fortune delights in turning the
tables.

HAUSER. Unique whims? No. That sort of thing happens every day.

BOLLAND. What happens every day?

HAUSER. The story of a poor young man who becomes a millionaire.
Every large factory boasts of a like progenitor.

BOLLAND. Do you think so?

HAUSER. And the poor young man grows poorer with each telling.
Your son, Herr Bolland, in his description will have his
grandfather freeze to death on the bundle of twigs.

BOLLAND. Upon my word the story is gospel. [To Dobler.] I'd make
use of that plot ... How he founded his business and how it grew
and grew ...

[As Frau Beermann enters from the music room, the tremulous voice
of Prof. Wasner is heard.]

"Behuet dich Gott, es hat nicht sollen sein." [Footnote: God guard
thee well, it was but a dream.]

[The closing of the door shuts off the sound.]

DOBLER. In one respect you are right. The character of the SELF
MADE MAN [Footnote: So in original.] has hardly been treated in
contemporary German literature.

BOLLAND [with enthusiasm]. That's just what I claim. Always about
the poor people only. But take a man who has a large income--one
who makes a success of his business, that also is poetry.

HAUSER. I'd have my ledger novelized, if I were you, Holland. [A
maid opens door, admitting Frau Lund.]

FRAU BEERMANN [welcoming Frau Lund]. Mama Lund, how good of you.

FRAU LUND [vivaciously]. Always glad to come here. Good afternoon,
gentlemen. Where is my little Effie?

FRAU BEERMANN. In the music room. [To the maid.] Please tell my
daughter ...

FRAU LUND. No, no, don't disturb her.

BEERMANN. Permit me. [Introducing.] ... Herr Hans Jacob Dobler,
our famous poet ...

FRAU LUND [taking his hand]. A famous poet? Delighted.

BOLLAND. Author of "Life Story of Hans." ...

FRAU LUND [pleasantly to Dobler]. If I were younger, Herr Dobler,
I would certainly make believe that I read your book. But at my
age I find that sort of thing too tiresome. What is the "Life
Story of Hans"?

DOBLER. It is a novel, gnadige Frau.

BOLLAND. A masterpiece.

FRAU LUND. Then my ignorance is unpardonable. I'll soon make
reparation.

[Frau Bolland followed by Effie, Dr. Wasner and Fraulein Koch
hurry out of the music room.]

FRAU BOLLAND. I am off for the Arts Club. I'll be late, I fear.
[To Frau Lund.] Oh, how do you do, Frau Lund?

EFFIE [hurries over to Frau Lund and kisses her hand]. Mama Lund!

FRAU LUND. How is my little mischief maker? When are you coming to
see me?

EFFIE. I would glady come ... but, I am so busy with music lessons
and Professor Stohr's lectures ...

FRAU LUND. And this and that and your eighteen years. You are
quite right, my dear.

FRAU BOLLAND [to Frau Beermann]. May Effie come along? They say
there are very won-der-ful paintings at the Arts Club.

FRAU BEERMANN [turning to Frau Lund], I don't know if ...

FRAU LUND. Of course, let her go along. She has such a pretty
little dress. Why should she be here with us old people? The
gentlemen will entertain us ...

FRAU BOLLAND. But then we'll have to hurry. It is quite late.
Goodbye, Frau Beermann. I enjoyed myself so much. Goodbye, my dear
Frau Lund. So glad to have seen you again. Goodbye, goodbye ...
Adolph!

BOLLAND. Yes, Mother.

FRAU BOLLAND. You won't forget the theatre tonight? At eight. The
Viennese actor is so fine. [Off to left. Followed by Effie and
Fraulein Koch. Frau Bolland in the doorway.]

FRAU BOLLAND. Will you come with us, Herr Dobler? You can explain
so many things.

DOBLER. I'll be glad to. [Shaking hands with Frau Beermann and
bowing.]

BEERMANN. Come soon again, Herr Poet.

BOLLAND. And think over the story I told you.

[Dobler goes out left, following Frau Bolland, Effie, and Fraulein
Koch.]

FRAU LUND [to Frau Beermann]. I'll just have a cup of coffee.

FRAU BEERMANN. I'll tell them to make a fresh cup for you. A fresh
cup of coffee. [To the butler who is clearing the table.] Tell the
chef--[Butler goes out through the middle door. In the meantime
Frau Holland again appears through left.]

FRAU BOLLAND. Adolph!

BOLLAND. Yes--wifey?

FRAU BOLLAND. Thursday the circus comes to town, don't forget to
reserve seats.

BOLLAND. All right!

FRAU BOLLAND [while going out]. I'm still a child when the circus
comes.

[Frau Lund seats herself on sofa. Next to her on the right Frau
Beermann; Beermann and Bolland sit opposite in large leather
chairs. Hauser is standing behind the sofa leaning against it.]

FRAU LUND [to Hauser]. Tell me Judge, where have you been keeping
yourself all this time?

HAUSER. In my office, Frau Lund, only in my office. But I hear
that you were on the Riviera.

FRAU LUND. Four weeks in Monte Carlo. Children, I gambled like an
old viveur.

BEERMANN. What luck?

FRAU LUND. I lost, of course--I'm too old to set the world on
fire. But, Beermann, I hear all sorts of surprises about you. You
are a candidate for the Reichstag?

BEERMANN. Yes, they nominated me.

FRAU LUND. Who are "they"?

BEERMANN. The combined Liberals and Conservatives ...

HAUSER. And the Conservatives and Liberals combined.

FRAU LUND. Formerly these were distinct parties.

HAUSER. Formerly,--formerly.

BEERMANN. Now there is fusion.

FRAU LUND [to Frau Beermann]. You never told me that your husband
was in politics.

FRAU BEERMANN. He never was--up to two weeks ago.

FRAU LUND. How quickly things change! And of all the people ...
you!

BEERMANN. What's so startling in that?

FRAU LUND. You told me that you never even read the newspapers.

BOLLAND. We all are cordially grateful to Beermann that in an hour
of need he made this sacrifice.

FRAU LUND. The way you talk about the "hour of need" and
"sacrifice" Herr Kommerzienrat, it seems to me that you would have
been the better candidate.

BOLLAND. Oh, I am too pronouncedly Liberal.

HAUSER. And that's an incurable disease!

BOLLAND. At any rate it makes my nomination impossible. A man was
needed who was not known as a party-man.

FRAU LUND. It would seem then that our friend Beermann has become
a politician because he ... is no politician?

HAUSER. That's what is known as "fusion."

BEERMANN. Allow me to ask a question. Why should I not become a
Reichstag deputy?

HAUSER. Quite right! Frau Lund--tell him--why shouldn't he?

BEERMANN. Because I am a novice in politics? We all have to make a
start.

HAUSER. It's the only calling where one can start any day, Frau
Lund, without being called upon to produce qualifications.

BOLLAND. There you can tell the lawyer. You'd like to establish a
civil service examination for members of the Reichstag?

HAUSER. You are not afraid that it might hurt them?

BEERMANN [with importance]. Let me tell you, Judge. What a person
achieves in real life is far greater than all your book wisdom. We
have too many lawyers anyway. It's one of our national
misfortunes.

FRAU LUND [merrily to Frau Beermann]. Look! He's beginning to
debate already.

BOLLAND [careless pose]. As you know, I run a soap factory where I
employ four hundred and sixty-two workmen ... let me repeat it,
four hundred and sixty-two workmen. Their livelihood and welfare
lies in the palm of my hand; don't you think that requires brains?

HAUSER. But ...

BOLLAND [interrupting]. Do you realize what the amount of detail
and the management of the whole factory means?

HAUSER. But friend Beermann never even worked in a soap factory.
How can that apply to him?

BEERMANN. Oh, what's the use of discussing things if you're
joking.

HAUSER. Really, I can't see the connection.

BEERMANN. At any rate, I'm a better candidate than the book-binder
whom the Socialists have put up against me.

BOLLAND. Beermann has had greater experience and has a broader
point of view.

FRAU LUND. Then there's something else I heard about Herr
Beermann, that I don't like at all.

BEERMANN. About me?

FRAU LUND. Yes, I bear that you are the President of the new
Society for the Suppression of Vice. What makes you do such
things? That isn't nice.

FRAU BEERMANN. I fully agree with you.

BEERMANN. You do? For what reasons? When honest men select me as
their President, is that mere flattery?

FRAU LUND. It is not becoming to you, and you are insincere in it.

FRAU BEERMANN. It's as false as anything can be, and you speak
about problems which you have never understood.

BEERMANN. Pardon me! I ought to know best what is becoming for me.

FRAU LUND. There's no one in the world I dislike as much as a
preacher. But if a person wants to be one ... then, according to
the gospel he ought to live on bread and water. It doesn't go well
with champagne and lobster.

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