During their discussion Melchior realizes that Moritz does not know the mechanics of reproduction. He offers to explain, but Moritz suggests that he write it down instead so that Moritz can read it later - in private. Thea , Wendla, and Martha are walking together, probably coming home from school, when Wendla suggests they go look at the flooded river. For a few moments they discuss the rumor that Melchior almost drowned in it the night before.
Martha complains about how her parents insist that she wear her hair in braids. This grows into a larger discussion about the fact that Martha's parents beat her and punish her in other dreadful ways.
Thea and Martha talk about how they will treat their children differently, but Wendla seems surprised that they assume that they will have children at all. The girls agree that they only want to have boy children, but Wendla insists that while she wants to have boys, she would rather be a girl, because she would rather be loved by a man.
This mild argument is interrupted when Melchior and Moritz walk by. A while later, Melchior is playing with some of his friends when he expresses the desire to know where Moritz is. He learns that Moritz was spotted sneaking into the faculty lounge, and everyone is sure that he will be caught and punished severely. However, Moritz soon appears, and they learn that not only was he not caught, but that he has discovered that he has been promoted to the next grade.
Eventually either he or Ernst Robel will have to give up their place, but Moritz has earned a temporary reprieve. The other boys act as if his relief is foolish, but Melchior clearly supports Moritz, and the two friends leave together.
Melchior is wandering in the woods one day when he meets Wendla. Wendla has been gathering Woodruff so that her mother can make wine. Wendla is relieved that it is not very late, and she agrees to lie under a tree with Melchior for a bit, after which he will escort her home.
He asks her about her visits with the poor, wanting to know why she goes and whether she enjoys it. She tells him that she goes because her mother sends her, but that she also gets a lot of pleasure from it. Melchior is frustrated by the idea that one can get pleasure from something that is supposed to be a sacrifice, but Wendla tries to convince him that fighting with religious authorities will only bring him pain. Wendla tells Melchior that she has been imagining what it would be like to be poor and hungry and to be beaten by her father when she doesn't bring home enough money from begging.
She asks Melchior whether he would like to beat her, and when he refuses, she taunts him until he pummels her with his fists, then flees. At the beginning of the second act, Moritz is attempting to study with Melchior. He is tired and overworked, and though he has failed one less time than Ernst, he is terribly afraid that he is going to be thrown out.
He rambles a bit about the story of a headless queen that he cannot get out of his head, but is interrupted by Melchior's mother, who is bringing in the tea. She tells Moritz that his health is more important than doing well in school, and Melchior tells his mother about the school's callous response to the recent death of a student.
Melchior's mother notices that Melchior is reading Faust, and counsels him to consider whether or not he is old enough to read such things. She leaves, and Moritz suggests that Mrs. Gabor was worried about the sexual part of the book. Melchior argues that not everything is about sex, but Moritz says that since he read what Melchior wrote for him, he feels like everything is about sex.
He talks about how he feels that girls get more pleasure out of sex, because they merely have to surrender to it, but Melchior doesn't want to talk about the matter. Bergmann comes home one morning to tell Wendla that the stork has brought her sister a little boy. After hedging around the question for a few minutes, Wendla asks her mother to explain where babies really come from. Her mother tries to avoid telling her anything, but finally says that a husband and wife must love each other like they've never loved anyone in order to have a baby.
Now in the home of Hanschen Rilow, we see Hanschen slip into his bathroom carrying a picture of a nude woman: a reproduction of Vecchio's Venus.
He bids goodbye to the figure, talking about how difficult it is to let her go, but how he must. He tells her of the other paintings that have gone this way, and wonders whom he will get to replace her. After a final kiss and a caress, he drops her in, and shuts the lid. One day, Wendla searches out Melchior in a hayloft.
She tries to get him to rejoin the others, but he refuses. Suddenly, Melchior starts making provocative statements to Wendla, but she tells him not to kiss her, for they don't love each other.
Wendla continues to protest, but Melchior grabs and rapes her. The next scene consists of a letter from Mrs. Gabor to Moritz. She tells him that she cannot give him money to flee to America; however, she will be happy to help him deal with his parents. She asserts that suicide will not help anything, and declares that his allusion to suicide seems a bit like blackmail.
She assures him that no matter what, he will always be welcome in her house. Do you like this story? The Plainsman doesn't accept money from tuition or student fees, and we don't charge a subscription fee.
But you can donate to support The Plainsman. Kara Mautz, human development and family studies with a minor in journalism, is a lifestyle writer at The Auburn Plainsman. By Emery Lay Campus Editor.
By Noah Griffith Sports Reporter. By Matthew Wallace Sports Writer. Daniel Schmidt Photographer. Share Share Tweet Mail Print. The children, though, are largely in contemporary dress and this creates a deliberate inner tension: characters controlled by repressive social and sexual codes look as if they have stepped out of a teen Netflix drama and dance in boy- and girl-band formations, with choreography that seems to have been adopted from a reality TV contest or high-school musical.
At the Almeida, London , until 22 January. Spring Awakening review — desire and dread in coming-of-age musical. Intense, edgy and passionate … Laurie Kynaston as Melchior. Photograph: Marc Brenner. Reuse this content.
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