Curtain56
So light the finale, as in London, that the figures fade from sight till only their voices are faintly heard, and theatricality helps to place the play as a mere bit of fantasy. On the other hand, there is something like genuine theatricality at the end of Sudermann’s Fritzschen. Fritz is going to his death in a prospective duel with a man who is an unerring shot. Though the others present suspect or know the truth, his mother thinks he is going to new and finer fortunes. Isn’t the following the real climax?
Fritz. (Stretching out his hand to her cheerfully.) Dear Ag— (Looks into her face, and understands that she knows. Softly, earnestly.) Farewell, then.
Agnes. Farewell, Fritz!
Fritz. I love you.
Agnes. I shall always love you, Fritz!
Fritz. Away, then, Hallerpfort! Au revoir, papa! Au revoir! Revoir!
(Starts for the door on the right.)
Frau von Drosse. Go by the park, boys—there I have you longer in sight.
Fritz. Very well, mamma, we will do it! (Passes with Hallerpfort through the door at the centre; on the terrace, he turns with a cheerful gesture, and calls once more.) Au Revoir! (His voice is still audible.) Au revoir!
(Frau von Drosse throws kisses after him, and waves her handkerchief, then presses her hand wearily to her heart and sighs heavily.)57
Because the history of the theatre shows that the contained appeal always moves an audience, Sudermann adds one more touch of misery as the mother dwells on her dream of the night before:
(Agnes hurries to her, and leads her to a chair, then goes over to the Major, who, with heaving breast, is lost in thought.)
Frau von Drosse. Thank you, my darling!—Already, I am quite well again!... God, the boy! How handsome he looked! And so brown and so healthy.... You see, I saw him exactly like that last night.... No, that is no illusion! And I told you how the Emperor led him in among all the generals! And the Emperor said—(More softly, looking far away with a beatific smile.) And the Emperor said—