[1] Unlike his 1892 play The Weavers, Hauptmann focuses on the story's psychological rather than social dimensions.
Her husband enters, discussing his business as a drayman, carting goods from one place to another.
Since the death of Mrs Henschel, Hanne is worried about what people say of her relations with the widower.
Siebenhaar, proprietor of a hotel, encourages him to forget his vow to the dead wife.
Now married to Henschel, Hanne is stunned on learning that he has brought with him her daughter, born out of wedlock, from the grips of her irresponsible and drunken father, though she denies that the girl is hers.
In the tap room of Wermelskirch's public house, several men grumble about the changes in Henschel's character since his second marriage, blaming Hanne.
Speaking of George, a waiter, Walther comments to Henschel: "Your wife an' he—they c'n compete with each other makin' a fool o' you!"
In discussing his marriage woes with Siebenhaar, Henschel reminds him of his broken vow: "You know well enough!- I broke it an' when I did that, I was lost.
But when Siebenhaar looks in at his silent figure in the bed, he tells Hanne that her husband is dead.
[6] Stanislavski worked on his production plan for the play during a holiday in March 1899 and rehearsals began in April; his score included the off-stage noises of striking billiard balls, coins clinking, and a banal waltz.
They eat real sausage for breakfast, slice cheese with holes in it from a square block.
The housemaids smell of freshly starched aprons and the rustle of their skirts can be heard about the stage.