and thus speaks unmistakably.

Nor is directer utterance lacking, "The Green Gleam," Hauptmann writes in
the delicately modelled prose of his _Griechischer Fruehling_, "the Green
Gleam, which mariners assert to have witnessed at times, appears at the
last moment before the sun dips below the horizon.... The ancients must
have known the Green Gleam.... I do not know whether that be true, but I
feel a longing within me to behold it. I can imagine some Pure Fool,
whose life consisted but in seeking it over lands and seas, in order to
perish at last in the radiance of that strange and splendid light. Are we
not all, perhaps, upon a similar quest? Are we not beings who have
exhausted the realm of the senses and are athirst for other delights for
both our senses and our souls?" The author of _Before Dawn_ has gone a
long journey in the land of the spirit to the writing of these words, and
of still others in _Gabriel Schilling's Flight_: "Behind this visible
world another is hidden, so near at times that one might knock at its
gate...." But it is the journey which man himself has gone upon during
the intervening years.

Thus Hauptmann's work has not only created a new technique of the drama;
it has not only added unforgettable figures to the world of the
imagination: it has also mirrored and interpreted the intellectual
history of its time. His art sums up an epoch--an epoch full of knowledge
and the restraints of knowledge, still prone, so often, before the
mechanical in life and thought; but throughout all its immedicable
scepticism full of strange yearnings and visited by flickering dreams;
and even in its darkest years and days still stretching out hands in love
of a farther shore. Once more the great artist, his vision fixed
primarily upon his art, has most powerfully interpreted man to his own
mind.