# 101. “Das Liebe Ich”

*Folksstück in three acts and a prelude by C. Karlweis  
Performance at the Lessing Theater, Berlin*

During the terrible boredom that this "folk play" causes for three hours, the thought arises again and again: Someone wanted to be a Raimund and didn't even make it as far as Birch-Pfeiffer and O.F.Berg. Something that is equally obtrusive and equally meaningless in its sentimentality and clumsy buffoonery will not be easy to find within the dramatic genre to which this play wants to belong. An obnoxious fellow with all the instincts of meanness and baseness torments his whole environment because he is only capable of loving his own self. He maltreats his wife, he condemns his son to idleness, even though he would like to work as an independent employee in his father's factory. The old egotist does not want to give up the "whip" as long as he can still take a breath. He refuses to give his consent when his daughter wants to give her hand to the man she loves, because it is better for his mean nature to set her up with someone else; and when a good friend comes into need and misery, the ego-lover can't get a penny out of him. This is the first act. It is preceded by a prelude depicting a quarrel between the fairy Humanitas and the Viennese fairy. It symbolizes how the "good Viennese heart" can be abandoned by all humanity and led down the path of self-interest and unkindness. But the Viennese must rediscover his golden heart. For this journey of discovery, "God Morpheus" joins forces with Humanitas and the Viennese fairy and - in the second act - lets the evil egoist fall into a bad dream that shows the dreamer where his hard mind will lead him when God wants to punish him and make him a poor man. And when the curtain rises again for the third act, the egotist is cured: with farcical agility, the "poet" has made the sinner the best father, a philanthropist and an exemplary husband.

All this takes place with unspeakable clumsiness. Karlweis wants to be naive like Raimund, but he is only childish. There is not even a hint of the spirit in the play that immediately wins us over when Raimund raises the curtain and his fairy tales play out before our eyes.

The role of the old egotist, Florian Heindl, was played by Mr. Bonn. He did everything he could to make the character even more repulsive than the poet had made him. Fräulein Groß, who has to play the Viennese fairy in the prelude and the young Heindl's fiancée in the drama, was only a "smart Viennese" in both roles, without being able to arouse any further interest. Carl Waldow alone gave a noteworthy performance as Heindl's house servant.