A great dark angel appears and remains dumb to the child's excited questionings. Her visions become involved here, for the Deaconess is also seen, and while she is habited as Sister Martha, her features are those of Hannele's mother. The child notices this and remarks upon it. And now a touch of Hoffmannish fantasy is given in the appearance of the village tailor, who salutes her as the Princess Hannele, and delights her by producing a shining robe and a pair of small slippers. Although she knows she is preparing for her death-bed, she is delighted. Her conversation with the Deaconess has taught her that death is not to be avoided--that it is the gate to joys eternal. There is something subtly sad in this child eagerly asking about death and the hereafter, with the awful symbol of death sitting in grim silence before her. Hauptmann has deeply probed the childish heart. The fantastic tailor retires after deferentially saluting Death, and then some children, headed by Gottwald, enter and beg Hannele's pardon for calling her Princess Rag-tag. Gottwald is bidding her farewell when a lot of the village people appear, and later the crystal coffin into which Hannele is laid. There is nothing repulsive in all this, despite its realism. Hauptmann's art is so far removed from the crude that sequence follows sequence in the most natural fashion and just as in De Quincey's Dream Fugue. Then comes the most dramatic part of these visions. Mattern slouches in and begins to curse Hannele, and to search for her in the dark corners. The neighbours cluster about the coffin, hiding it from view. The stranger enters and calls Mattern to account. There is a scene between the two. Mattern denies having treated the child badly, and thunder and lightning rebuke him for the lie. He perjures himself, and the mystic flower glows with miraculous light on Hannele's breast. The neighbours, who play the part of Greek chorus, fiercely cry, "Murderer! murderer!" and as one pursued by the Furies the miserable wretch rushes away to hang himself. The stranger assumes a supernatural appearance. He becomes clothed in white, and his brow shines. He advances to the crystal basket wherein lies Hannele, and bids her arise. She does so, and the neighbours flee affrighted. Remember that all this occurs within the darkened chambers of Hannele's sick brain. Its objectivity, so far as we are concerned, is a device of the dramatist. Hannele arises and goes to the stranger, who is a glorified image of her teacher, Gottwald. Some lyrical passages, strongly tinged with Oriental colouring, follow, and an apotheosis closes the scene. After all this burst of colour and harmony, for there is much music of harps and plucked strings, we are almost instantly transported to the almshouse again, and see Hannele once more in her rags on her squalid bed. The doctor gravely announces, "She is dead," and Sister Martha ends the play by saying, "She is in heaven."