This play proved a moderate success, especially when played by Sothern, and has been repeated in academic circles, although it has not been so popular in America as have been the plays by Ibsen, Rostand, and Maeterlinck. It is one of the dramas that yields more of its beauty and symbolic message to the reader than to the spectator. The play, _Henry of Aue_, or _Der arme Heinrich_, which was called a fable (1902) has sometimes been listed as a sequel to _The Sunken Bell_ but they are unlike in setting and theme. Heinrich, the crusader, is attacked with leprosy at the summit of his glory--a punishment for his insolence to God. The healing begins when he purges his soul of despair and hatred and begins to recognize “Beneficence” in Nature and Life. There are well drawn characters, especially Heinrich, Hartmann von Aue, Gottfried, Brigitta, and Ottegebe, the farmer’s daughter, whose influence is strong in the “cure” for the hero. As dramatic art this play is inferior to _Hannele_ or _The Sunken Bell_, but the reader’s interest is sustained in the leading character, from his tragic condition as an outcast, with a wooden clapper to warn people of his approach, to the last scene of his redemption by love. During the years since he received the Nobel prize, Hauptmann has written several plays and novels that continue to reveal his dual traits as realist and idealist. The writings during the World War have a tang of bitterness. Ludwig Lewisohn has edited eight volumes of Hauptmann’s _Dramatic Works_ (Huebsch, New York, 1915-1925). The introductions are informing and the translations are clear and strong. In the series are included several Social and Domestic Plays as well as “Symbolic and Legendary Dramas.” _Parsival_, a play translated by Oakley Williams, has an ethical or religious tone with sympathetic insight into humanity. “Heartache” was the name of Parsival’s mother; said her creator, “I should hate to make anyone sad, but I believe we might call every mother, at any rate, very, very, many mothers by this name.”[82] There are symbolism and poetic sermonizing in this drama of Parsival, “Bearer of Burdens”; his development from a care-free youth to later responsibilities for world burdens is well portrayed. Traces of irony and humor are found. The setting of the play, _And Pippa Dances_, is picturesque, in the Silesian mountains. Wann is a grotesque element and the tales of “the Wild Huntsman” are entertaining; Pippa, the fair-haired daughter of the glass blower, is the persuasive character. There is a lack of dramatic unity in certain scenes. Translations of this play, and of _Elga_, have been made by Mary Harned in _Poet Lore_ (Boston, 1906-1909). _And Pippa Dances_ is included in Volume V of the plays edited by Mr. Lewisohn.