102. “The Three Heron Feathers”

Fairy tale play by Hermann Sudermann
Performance at the Deutsches Theater, Berlin

"I raise my head boldly to the threatening rocky mountains and to the raging torrent of water and to the crashing clouds swimming in a sea of fire and say: I am eternal and defy your power! Break all down upon me, and you earth and you heaven, mingle in wild tumult, and all you elements, - froth and rage and in wild battle tear apart the last little sun-dust of the body which I call mine: - my will alone with its firm plan shall hover boldly and coldly over the ruins of the universe; for I have seized my destiny, and it is more permanent than you; it is eternal, and I am eternal like it." Fichte uttered these sentences in a speech that dealt with the highest goals of the human spirit. Anyone who knows them can recall them when they get to know Sudermann's latest dramatic poem "The Three Heron Feathers". For the tragedy of man, who is driven as far away as possible from the proud consciousness expressed in these sentences by an unfortunate fate, affects us in this thoughtful drama in the shattering way that we always feel when the greatest problems of life are unrolled before us with the playwright's gripping means.

A Hamlet's nature, faced not only with the problem of avenging his criminally murdered father, but with the greater problem of coming to terms with life itself, in all its mysteriousness: that is Sudermann's main character, Prince Witte. Widwolf's nefarious deed has robbed him of his fathers' ancestral heritage, the Duchy of Gorhland. He seems equipped with all his gifts to acquire what he has inherited from his fathers. But like Hamlet's will, his is paralyzed. Fate itself prevents him from earning his freedom and life by having to conquer them every day. The reason for his tragedy is that this fate throws happiness at him without struggle, without striving. But such happiness can never be pious to man.

Prince Witte has gone to a people on a northern island, where a heron is worshipped as a divine being. He has captured three feathers from it. They can bring him the three stages of development of the happiness that can only be bestowed on man. But such happiness could only belong to transient life. The life with which death is inseparably linked. The life that becomes bitter when we think of death. Yes, whose only, futile meaning is death. Sudermann has given symbolic expression to death, which alone can shed light on such transient happiness in life, in "Begräbnisfrau". She interprets the prince's fate in terms of the three heron feathers. If he lets the first one burn in the fire, the woman who makes him happy appears to him as a misty figure in the clouds. If he burns the second, she will stand before him in a dream. He will hold her in his hands and yet strive in vain to possess her. And if the third finally becomes the nourishment of the flame, the woman who represents his happiness will die before his eyes.

Like the will that is paralyzed in the prince himself, his faithful servant Hans Lorbass stands beside him. He tries to lift him up again and again. He is the strength and the fire in Prince White's life. In the first scene of the drama, he reveals his entire life's destiny to us:

"For in every great work,
That is accomplished on earth,
Strength alone shall reign,
He alone shall reign who laughs,
Never shall sorrow reign,
Never he who foams at the mouth in anger,
Never he who needs women to slumber,
And least of all he who dreams,
Therefore how I sweat and steel him
To what he can become,
I sit firmly in his soul -
I, the fighter - I, the man."

Prince Witte embarks on the path of life marked out for him by fate with his servant Lorbass, whom he has found again after capturing the heron feathers. He goes to the court of the Amber Queen of Samland, who is a widow and has a six-year-old son. She wants to give her hand to whoever wins the tournament. Widwolf, who has usurped Witte's throne, meets the robbed man here. Although Witte does not win, the loyal Lorbass stands by his side and drives Widwolf and his men away. Nevertheless, the queen gives Witte her love. She is a woman full of kindness and devotion, but she must give her love away. She can only consider the one who has conquered her heart to be the victor, and that is Prince Witte. He becomes king, even though the Samland Queen's people have grave qualms of conscience because Witte has not won an honest victory - and even though he does not feel happy because he is not keeping and defending the throne for himself, but for the young king from his wife's first marriage. But fate, which decides on the happiness of transient life, has assigned this wife to the prince as his happiness. He cannot understand this fate. The wife he has been given remains a stranger to him, and his longing yearns for the supposed stranger who is to appear to him walking in the night when he burns the second heron feather. Lorbass sees his master gradually withering away at the queen's side. He therefore gives him the idea of burning the second heron feather. And when this becomes a flame, the Amber Queen, his wife, appears "walking in the night". Even now, he cannot recognize her as the wife destined for him. Instead, he sees her as a troublemaker. He thinks that by appearing, she has driven away the unknown woman out of jealousy, who should have appeared when the heron's feather was burned. At this moment, the deeply moving spirit of this drama takes effect from the stage: we do not understand a happiness that we receive effortlessly, as if by magic, as a gift; we can only recognize the happiness we have acquired as the happiness that is due to us. Sudermann conveys this general truth to us through a purely human motif. Witte cannot find the way to his wife's heart because his son, who does not bear the mark of his blood, stands between them. He even gives Lorbass a hint to get this son out of the way. The robber Widwolf appears for the second time to covet the queen. Witte is to fight for himself and his own. He believes he cannot do this as long as he is defending not his own throne, but that of his stepchild. When Lorbass gets to know the boy king in all his excellence, he cannot kill him. And Witte is also glad that this time the faithful servant has broken faith. With all the strength in him, he rushes against the enemy Widwolf and - now really conquers the kingdom, but - to renounce it and move on to seek the woman who is supposed to be destined for him by the firepower of the heron's feathers. He does not find her, of course, but returns fifteen years later to burn the third of the feathers in the presence of the Amber Queen. At this moment, the woman destined for him falls to her death. Only now, as his happiness escapes him, does he realize that it was meant for him. He dies after his wife. Death, in the form of the funeral wife, has had no trouble in capturing the two of them for himself, for it was easy for him to give them a fleeting happiness that neither of them can recognize as their own. He receives happiness as a gift and cannot recognize it because he does not conquer it; and she gives happiness away and cannot be happy about it because she gives it away indiscriminately.

There is no dead end in this Sudermann drama. One sits there and waits for each coming moment with rapt attention. Always the background to a great thought and always a captivating image on the stage. One has the feeling that a serious person wants to communicate with serious people about an important matter in life. Full of gratitude to have seen a piece of life in a poem, we leave the theater, which today is mostly devoid of ideology.

The performance in Berlin's Deutsches Theater was such that it can be described as a dramatic phenomenon of the first rank. Kainz as Prince Witte: one may give the highest praise; Teresina Geßner was an Amber Queen who made the soul tremble, and Nissen's Lorbass should be incorporated into German stage history as soon as possible. The Deutsches Theater has much to make up for after the utterly unsuccessful Cyrano performance; but it knows how to make up for it. And only where there are strong advantages does one make such mistakes as the one severely criticized here.