HATJPT. 631 HAUEAKI GULF. •ncft (.1842) ; Ruclolpli von V.ms'ri Drr gtitc Gcrlinrd (1^40) : (lie iKn'ins of (u)t(frii'(l von Xcifon (1851) ; and the Morit:: von Craun (1S5S), and ^ oil dcm niacin Wcibc (1871) of Xcidhaid von Keuenthal, and. above all, Konrad von Wiirz- burg's Enijclhard (1844, lu'W ed. IS'JO). He also edited .Eschjlus from the papers of Hermann (2d ed. 1858), and completed Lachmann's edition of the Media-val German lyrics of the Minne- singers (Dcs Minncsanps Friihliitg, ith ed. 1888). Ie 1830. -(vith Hoffman von Fallersleben, he founded the Alldeutm-lic Blatter, succeeded in 1841 by the Zcitscluift fiir dcutsches Altcrtum, which he edited until his death. His numerous briefer contributions are collected in his Opiisrula (3 vols., 1875-76) ; and his Franzosische Volkslicder appeared postliumousl.y in 1877. Consult: Bel- ger. Hnupt als akrulemisclicr Lehrer (Berlin, 1870); and Nettleship's lecture (Oxford, 1879). HAUPT, Paul ( 1858— ) . A Semitic scholar, one of the pioneers of Assyriology in America. He was born at Gijrlitz, Germany, November 25, 1858. He studied at the universities of Berlin and Leipzig. In 1880 he became privat-docent in the University of Gijttingen, and from 1883 to 1889 was assistant professor of Assyriology. In 1883 he became professor of Semitic languages at .Johns Hopkins University, but until 1889 con- tinued to lecture in the summer at Gottingen. Be- sides numerous smaller articles, he projected and edits the Poliicliroine Bible, a critical edition of the Hebrew text of the Old Testament, and a new English translation with notes. A unique feature of this edition is the use of different colors to distinguish the various sources and component parts in the Old Testament books — eacli one of which is intrusted to a specialist in biltlical studies. Among his Assyriological pub- lications may be mentioned his edition of the Xinirodepos (the Gilgamesh epic, 1884-91) ; AI;kadische mid sumerischeKcilscIirifttextei 1881- 82) ; Die akkadische Sprache ( 1882) ; and Sumer- ische Fainilieiigesetze (1883). He is also co- editor with Friedrich Delitzsch of the Beitrdge zur Assyriologie und semitischen SprachiiAssen- schrifl, published in Leipzig. HAUPTMANN, houpt'man, Geriiart (1802 — ). One of the greatest of modern German dramatists. He was bom in Salzbrunn, son of a hotel-keeper, and grandson of a weaver. His first work, Proiiiclhideiilos (1885), was an epic. His dramas, Vor Sonnenaufgang (1889), Das Friedensfest (1890), Einsame lleiischen (1891). and Die "Weher (1892). show the influence of Zola, Ibsen, and Tolstoy, a spirit of revolt against the social conditions and the artistic ideals of a military and capitalistic State. Thus the young Hauptmann. with the young .Sndermann, was for a time leader of a second Young German movement, and the production of Vor Soniienaiif- gang at the Free Theatre of Berlin was the signal for a contest, recalling in a way that over the Cid or Hernani. The quiet and retiring poet became at once a notoriety. These dramas were aggressive- ly democratic, social, realistic. His actors are no longer persons or characters, they are described as 'people in action.' who walk, talk, and act as in every-d.iy life, or at least seem to do so, by an art that hides art. And it is every-day life of which they speak, the sordid social struggles of to-day in which they are engaged, the vulgar vices that hold them in a gloomy, brutal grasp. This naturalism is as pessimistic as that of Zola. Die Weber constantly suggests Germinal, but the poet and the artist in llauptniaun here rises above the theorist and llic )ikilusopher. The idealist is not defeated, but is learning to lift ugliness itself to the realm of art. Up to 1892 Hauptmann might have seemed mor- bidly ethical in tragedy. He was now to sliow liimself in KoUege Crampton (1892) and Der Biberpelz (1893) capable of painting delightful pastels of humorous character, though it is liere with a professional thief and there with a drunk- ard that we have to do. And presently in Uan- nele (1893) he was to reveal himself in still another character as an extreme idealist, dealing no longer with vice, hunger, and mental decay, but with dreams, fantasies, and faith. Hannele is a mystic poem. So is Florian Geyer (1895), and Die r-ertiuiilcene Gtocke (1897, translated by Jleltzer, 1900) calls itself 'a fairy drama.' Then may be noted in Fuhrmann Henschel (1898) a turn from mysticism to an idealized realism in a situation suggesting that of Balzac's ha rahouil- leiise, thougri its fundamental naturalism is tempered by a spiritual restraint that comes from a great poet's moral intuition. Here Hauptmann has touched earth again as the poet of social altruism, giving to the German working class an artistic expression of their own weakness, and of the selfish strength of others. He is here the poet of the poor, the downtrodden, the lonely, the helpless, the perplexed, even the vicious. He recognizes the individualism produced by the material struggle for exi.stence and wealtli, but he would convert it to new ends by the inspira- tion of a Christian socialism, f^cliliirk und Jau (1900), a farce, is a romantic ada])tation of an Arabian tale, and Hauptmann's next drama. Mi- chael Kramer ( 1900) , while abounding in lines of sententious eloquence, is sordid in subject, and proved on the stage a melancholy failure. Haupt- mann wrote also two novelistic studies, Der Aposlel and Baliinrarter Thiel (1892). HAUPTMANN,. houpt'man, Moritz (1792- 1868). A German composer and eminent writer on the theory of music, born at Leipzig. He was educated as a musician, and studied the Tiolin under Spohr. His opera, Mathilde (1826), was very successful, but it was not imtil 1842, when he became cantor and musical director at the Thomasschule in Leipzig, that his genius as a teacher was universally acknowledged. His pu- pils, among whom were F. David, Kiel. .Joachim, Sullivan, Von Billow, and Cowen, cherished an enthusiastic admiration for him. and at his death Leipzig was in mourning. Of his compositions, all of which are marked by purity and beauty of style, the best are his violin pieces. He em- bodied the result of many years' labors in his Die Naliir der Barmoink und Metrik (1853, 2d ed. 1873: Eng. trans. 1888). which was a work of paramount importance ar.d the foundation of liiodcrn musical theory. HAURAKI (hou-r.a'ke) GUXF. An inlet on the cast coast of North Island. New Zealand. 70 miles long and 40 miles broad. The Great Bar- rier Island forms a natural breakwater at its entrance, and it contains numerous picturesque inlands and good harbors, .uckland and Thames are the chief towns on its shores.
