On Hauptmann's ‘The Weavers’ (1893)

Abstract

Born in 1846, Franz Mehring as a young man was a follower of Ferdinand Lassalle, who in 1863 had organized Germany's first socialist party. As well as establishing a reputation as a journalist with his contributions to many liberal and democratic newspapers, Mehring was awarded his doctorate at Leipzig University in 1881 for his dissertation on the history and teachings of German social democracy. In his mid-forties he embraced Marxism and in 1891 joined the German Social Democratic Party, soon emerging as the intellectual leader of its left wing. He became editor of the Leipziger Volkszeitung and wrote prolifically for Die Neue Zeit and other radical journals on history, politics, philosophy, and literature. His book The Lessing Legend, published in 1893, is regarded as the first sustained attempt at Marxist literary criticism. His major biography of Karl Marx appeared in 1918, the year before his death. Completed in 1891, The Weavers was accepted for performance by the Deutsches Theater but was rejected by the Berlin censor as ‘a portrayal which specifically instils class hatred’. The first production of the play, discussed by Mehring below, was possible only because the Freie Bühne was a subscription society. In October 1893 a further private performance was given at the Neue Freie Volksbühne, followed by seven more in December at the Freie Volksbühne, where Franz Mehring was chairman. By now, the Prussian State censor had overruled his Berlin subordinate and The Weavers received its public premiere at the Deutsches Theater on 25 September 1894. On each occasion Hauptmann's play was greeted with great enthusiasm by the public, but found no favour with the Imperial family who indignantly cancelled their regular box at the Deutsches Theater. Subsequently The Weavers was banned from public performance in France, Austria, Italy, and Russia. Mehring's article appeared originally in Die Neue Zeit, XI, No. I (1893). Its translation in NTQ forms part of an occasional series on early Marxist dramatic criticism, which already includes Trotsky on Wedekind (NTQ28) and Lunacharsky on Ibsen (NTQ39). EDWARD BRAUN