The play is the history of a child's soul. It is a psychological study of the brain of a wretched little outcast, who, just before her death, experiences delirious trances, in which condition the events and personages of her unhappy life become objective visions, and these visions are seen by the audience. The story is so simply, so chastely told that one marvels effects can be produced by a verbal machinery of such simplicity. The disgust inspired by the quarrelling, fetid crew of beggars in the almshouse gives way to feelings of the most profound pity at the entrance of the poor little would-be suicide. Her first words, "I'm afraid," inspire sensations of pity at her condition, and horror of the brute who drove her to the commission of such a desperate deed. Hauptmann's touch is so true, so tender, that he evokes with ease the whole past of this wretched girl, whose existence has been one of blows, curses, kicks, and starvation. Her undeveloped soul, cramped as it had been by her neglected life, has awakened under the kindnesses of her teacher Gottwald, and how natural that he should be invested by her with almost supernatural attributes! Hauptmann conveys all this and more through the half-scared utterances of Hannele, who refuses to respond to the pertinacious questionings of Magistrate Berger, and only speaks when Gottwald asks her to. She appears to be a stubborn girl, but it is a stubbornness born of hard beatings and harsh language. She has been the butt of the village children, and the one ray of light which has entered her life is her teacher, and through him some glimmerings of religion. Heaven to her is a place all golden glory, whose Lord is overflowing with pity for unhappy children, and where she can eat, drink, and be warm. She has been half starved and turned out in the streets on biting cold winter nights. It is most natural that she should long earnestly for this heaven, and her appeals to be allowed to die, so that she could see the Lord, are eloquent to a degree. She is only a beggar girl, this Hannele, and Hauptmann gives her to us in all her rags and misery, and free from mawkish sentimentality. Pity is the dominating note of the play, especially in part first; Hannele's bruised body, shrinking, sensitive soul, arouse the deepest pity. The transition to an atmosphere where the elements of awe and fear enter is quietly accomplished by the dramatist. Hannele's delirium is the medium. When she first appears in the strong arms of her teacher she is numbed by the icy waters of the pond, but the warmth of the hot drink and the hot bricks soon revive her and she wanders a little in her speech. She tells Gottwald that it was the Lord who beckoned to her in the water, and when she is left alone with Sister Martha, she screams with fear at the sight of old Daddy Pleschke's hat and coat, which hang at the foot of her miserable bed. The child thinks she sees her stepfather.