# 43. “The Maccabees” by Otto Ludwig

*With respect to our Burgtheater art  
Performance at the Burgtheater, Vienna*

As gratifying as it generally is when the management of our Burgtheater remembers from time to time that an art institute of the first rank has the duty to present the works of its greatest poets to the German people, we cannot congratulate them on the revival of "The Maccabees". We do not fail to recognize that we are dealing here with the creation of a true and genuine poet, we know that traces of a tremendous talent are evident everywhere: but as a drama the "Maccabees" are weak, and on the stage they do not make a real impact. It is characteristic of Otto Ludwig's character that he wanted to turn a material into a drama that could not be more unfavorable for this purpose. The spiritual direction of Judaism is inaccessible to actual tragedy. The religious Jew has no ideas or ideals. He lives for a God who remains an inanimate, thoughtless abstraction to him. The Jew lacks all understanding for the real world of the immediate present, from which the tragic conflicts and actions arise. This is why Otto Ludwig, for all his masterly characterization, which we have to admire in his "Maccabees", was unable to deepen a single figure into a truly captivating tragedy. He was even less able to depict a dramatic development and plot. These are only possible where the spiritual nature, the world of ideas intervene directly in reality, where man also loves what he strives for, where he is passionately devoted to what he recognizes and reveres as the highest. The Jew fights for a God whom he does not know, whom he does not love. He does not act; he obeys slavishly. The life turned towards the unknown Jehovah and alien to reality therefore also causes interest in the latter to die. And so there is a lack of the richness of life that the drama needs. Every dramatic motif is soon worn out, for it loses its significance when it has fulfilled its task of glorifying Jehovah: it must be replaced by a new one. With this, however, all organic development comes to an end. A monotonous, inconsistent basic idea dominates the whole, next to which the real events appear arbitrary, without inner coherence. This was the case with Otto Ludwig's "Maccabees". The plot is disjointed, arbitrary, without an inner organic structure. New motifs have to be conjured up again and again in order to continue the stalled development. We first see how Leah, the wife of the Jewish priest Mattathias, is insatiably ambitious to bring the service of Jehovah into the hands of her descendants and how this ambition completely dominates her. Of her seven sons, Judah is a kind of hero who devotes his whole being to saving the glory of God's name against the Syrians who oppress the Jews and want to force them into paganism. Eleazar, his brother, his mother's particular favorite, is an ambitious striver who goes over to the Syrians in order to gain prestige and power through them. This seems to create a tragic conflict. But since it is not enough, the poet has to introduce a completely new moment into the plot later on. Judah, who fights successfully against the enemies and appears as the champion of the Jewish spirit, is confronted by the fanatical Jehoiakim, who knows only the de-spiritualized letter and disturbs the former's circles by preventing the Jews from fighting on the Sabbath. Everything that has been achieved is called into question again. Again we have the beginnings of a dramatic entanglement: but again it proves too weak to lead to an end. First a party hostile to the Maccabees must arise, which betrays the Jews to the Syrians and, in order to arouse faith in the Syrian king, snatches the children from Leah to hand them over to the enemies. After suffering many hardships, Leah appears before King Antiochus to plead for the freedom of her children. The king gives her the choice of either having them renounce the faith of their fathers or consigning them to death by fire. After a harrowing battle of the soul, the mother decides on the latter. This is how the plot actually begins three times, and we always lose all interest in the thread that continues from the beginning. A whole series of weaknesses in the play could also be mentioned. Mattathias' death, which drags on for an entire act, seems boring, the appearance of the Roman Aemilius Barbus seems far-fetched, the scene between Judah and his wife in the fourth act, where he addresses her as the "little rose of Saron", even tasteless.

Although the play is weak enough as a drama, the individual characters are at times masterfully drawn and offer the actors ample opportunity to show off their skills and, in particular, their artistic conception. We do not want to neglect to look at the artists involved. Above all, Ms. Wolter deserves the honor of the evening. Her Lea is a masterpiece; and what captivated us in the play was to a large extent the interest in the performance of this artist. In her whole being, in her figure, voice, manner of speaking, indeed in every gesture, Ms. Wolter has something of the idealized art of acting. She makes a powerful impression on anyone with taste, and would do so even if she refrained from such naturalistic amusements as drinking to fortify herself before appearing before Antiochus. She reminds us of her coquetry in Götz, which does not enhance her noble play. Even if Lea does not appear as elaborate as Stuart or Orsina, we must still count her among the best we have ever seen at the Burgtheater. The scene where she is tied to a tree by the enemy party so that she does not follow her children and the scene before Antiochus are magnificent in every respect.

With regard to Roberts as Judah, we cannot join the chorus of Viennese critics. It has always seemed incomprehensible to us what Speidel and the critics who follow him find in this actor. We can never be interested in the intellectual working through of the roles, which does not lead to anything more than a mannered portrayal that lacks all style. So we didn't get any impression of his Judah either. He sought his effect through a special development of the vocal means, which failed to materialize because he ultimately lacked the strength. Mr. Wagner's Eleazar was played without understanding. Nowhere could one find that he was touched by Otto Ludwig's deep spirit. The turnaround at the end, where he goes into himself and yet seeks death with the brothers, was without the necessary psychological deepening of the portrayal. We did not dislike Jojakim Schreiners, just as we generally find that this actor receives too little critical attention. Devrient is not quite up to the role of Antiochus. This time Baumeister was very insignificant as Aemilius Barbus. We have never seen this brilliant actor so bad. It was almost incomprehensible.

At the end, we have to ask a few questions: why didn't Mr. Krastel play Judah, who seems more suitable for this role than any of his colleagues? Why wasn't Mr. Reimers given the role of Eleazar? Why did the setting up of the idol at the end of the second act have to be turned into a ridiculous caricature by the production?