82:'s land where good and evil blend in one hazy due. Sudermann, here and in nearly all his later pieces, challenges the moral law—Ibsen's loftiest heron feather—and if any appreciable theory of conduct is to be deduced from his works, it is that the moral law must submit to the variations of time and place, even though its infraction spells sin, even though the individual in his thirst for self-seeking smashes the slate of morality and perishes in the attempt.
35:. It tells the story of the conflicts and love affairs between two families, one wealthy and one poor. When the wealthy father has an affair with a daughter in the poor family, her brother challenges the rich man to a duel, only to be laughed off.
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The play was
Sudermann's debut as a dramatist. It became an immediate success, launching Sudermann into literary stardom in Germany, and was widely performed during the
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is not alone the ironic contrast of real and conventional ideals of honour—it shoots a bolt toward
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had become more commonplace, the play lost much of its initial status.
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126:Grange, William (2015). "Ehre, Die (Honor)".
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195:(in German). Hermann Sudermann Stiftung
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129:Historical Dictionary of German Theater
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167:(1905). "Hermann Sudermann".
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395:Plays by Hermann Sudermann
385:German-language literature
98:Frontstairs and Backstairs
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70:Yet it is easy to admire
221:at Projekt Gutenberg-DE
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356:The Excursion to Tilsit
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346:The Song of Songs
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223:(in German)
170:Iconoclasts
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380:1889 plays
374:Categories
316:Frau Sorge
199:2016-03-08
113:References
93:Urban Gad
80:Nietzsche
39:Reception
28:Die Ehre
359:(1917)
349:(1908)
339:(1894)
329:(1889)
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298:(1900)
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285:Heimat
278:(1889)
275:Honour
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18:Honour
307:Prose
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