Author
Lauri Haarla
1890-1944
Lauri Haarla (1890-1944) is a public-domain author available on Rivro. Read free books, explore subjects, and discover related classics.
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Books by Lauri Haarla
Halveksittu mies
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Hanuumanin tytär: 3-näytöksinen apinakomedia
"Hanuumanin tytär: 3-näytöksinen apinakomedia" by Lauri Haarla is a comedic play set in a fictional world populated by anthropomorphic monkeys, likely written in the early 20th century. The story revolves around Hanuuman, the king of the apes, his family, and their various relationships and conflicts as they navigate their kingdom. The humor arises from their ape-like characteristics while reflecting human emotions and societal issues. The opening of the play introduces us to Hanuuman and his kingdom as a warm, sunny evening sets the stage. We meet various characters, such as his beloved wife Naakka and their son Hyyppä, who are involved in light-hearted banter and wrestling for playful dominance. The dialogue is filled with rhyme and whimsical language, painting a vivid picture of their environment and interactions. As the plot unfolds, themes of love, rivalry, and the complexities of society are hinted at, suggesting that deeper conflicts will emerge beyond the initial comedic exchanges. The level of anthropomorphism gives the narrative a unique flavor, setting the tone for both humor and commentary as the story continues.
Saarretun näkyjä : $b Runoelmia
"Saarretun näkyjä : Runoelmia by Lauri Haarla" is a collection of Finnish poetry written in the early 20th century. The book presents a series of lyrical and narrative poems reflecting on themes of war, heroism, human suffering, and the search for beauty amidst chaos. The tone and historical context point towards a time of national upheaval, likely connected to the Finnish Civil War and the broader struggles in Finland during that era. The central topic revolves around the emotional and existential experience of individuals caught in the turmoil of conflict, as well as reflections on honor, loss, and fleeting moments of transcendence. The poems in this collection give voice to soldiers, common folk, and mythic figures, merging personal and collective experiences. Haarla weaves together vivid depictions of battle, exhaustion, camaraderie, and longing, shifting from the immediacy of combat to deeper philosophical introspection. Amidst the violence and fatigue, recurring motifs of love, memory, and yearning for peace appear, offering solace or bitter contrast. Through its array of perspectives—including the "orjalaulaja" (slave singer), rural philosophers, and legendary heroes—the book contemplates the opposing forces of glory and misery, ultimately searching for meaning and dignity even in dire circumstances.
Onni maallinen : $b Murhenäytelmä
"Onni maallinen : Murhenäytelmä" by Lauri Haarla is a dramatic play written in the early 20th century. This work unfolds in the ancient city of Palmyra, during a time steeped in historical and cultural richness, focusing on themes of power, love, and societal conflict. At its heart is the character Zenobia, the Queen of Palmyra, who grapples with the challenges posed by her political landscape and a complex relationship with her son, Athenodorus. The opening of "Onni maallinen" introduces us to the characters and setting within a grand terrace of Tadmor's palace, establishing a vibrant yet turbulent atmosphere. The narrative begins with Athenodorus, a sickly prince, who appears hopeful and in pursuit of love amid the instability of his surroundings. As he interacts with his caretaker Lankha, hints of romantic longing and the pressures of royal expectations are introduced. Meanwhile, the queen, Zenobia, faces challenges against the backdrop of impending conflict and political strife, setting the stage for further drama as rumors and tensions unfold within a populace restless for change. The dynamic introduced in these early scenes promises intricate relationships and escalating stakes in the play.
Kaksi kuningatarta : $b Kolminäytöksinen murhenäytelmä
"Kaksi kuningatarta : Kolminäytöksinen murhenäytelmä" by Lauri Haarla is a three-act tragedy written in the early 20th century. Set in Naples during the waning years of the Black Death, it stages a moral and political duel between Queen Johanna and the pilgrim-mystic Birgitta Birgerintytär, while rival factions and the Orsini family circle the throne. Into this courtly tempest strides the audacious Swedish knight Kaarle, whose reckless charm ensnares both the queen and the young lady-in-waiting Bianca Maria, as the threat of Durazzo’s Charles gathers outside the walls. The play explores power, guilt, repentance, and desire as private passions collide with public ambition. The opening of the play presents Johanna’s glittering yet brittle court, where Nolan’s Count warns of plague and rebellion, a troubadour mocks, and Alvastra’s Petrus ushers in Birgitta with her children, Kaarin and Birger. Birgitta confronts the queen with stark accusations—complicity in husbands’ deaths, rampant sensuality—and urges a barefoot pilgrimage to the Holy Sepulchre; Johanna wavers, promising “when the wind turns north.” Kaarle bursts onstage brash and magnetic, defies his mother Birgitta, and is lured by Johanna into her secret chambers, even as he later falls genuinely for Bianca Maria and plots flight with her. Meanwhile Birger schemes to bind Kaarle to the queen for power, Kaarin gently binds Nuori Orsini to a penitential quest, and a jealous Johanna, catching a glimpse of Kaarle and Bianca Maria together, quietly orders her taster to prepare poisoned oysters for a private “celebration.”
Pyhä Yrjänä, eli Runous, rakkaus ja raha : $b kolminäytöksinen huvinäytelmä
"Pyhä Yrjänä, eli Runous, rakkaus ja raha: kolminäytöksinen huvinäytelmä" by Haarla is a three-act comedy play written in the early 20th century. It’s a sharp, metatheatrical satire where a penniless writer engineers a charity staging of the Saint George legend to pit poetry, love, and money against one another in a small-city milieu. The comedy revolves around the ambitious actor Eevert Urpia, the powerful mayor Adam Bilde, Bilde’s captivated wife Ruth, the exacting critic Ihanelma Palmu, and the barber–balladeer Polle, as desire and finance clash on and off the stage. Expect playful irreverence about cultural authority, sly plotting, and romantic entanglements that threaten public respectability. The opening of the play sets the scene in the mayor’s grand home, where the impoverished playwright Hans Korp spars with a vain actor, a cautious theater director, and a self-important critic, while secretly ferrying a note from Ruth to the actor Urpia. Spotting a chance to turn life into drama, Korp rewrites the pious Saint George pageant into a bolder love-and-revolt piece: during rehearsal the crowd (egged on by Lill’ Margit) cries down the “king,” Urpia’s Saint George openly woos Ruth-as-princess, and the enraged mayor storms in, vowing to fire Urpia. At the start of the second act in the “Nubia” restaurant, Polle pines for Lill’ Margit, Selma pleads and is rebuffed by Urpia, and Ruth arrives, determined to choose love; Korp insists they need cunning, not blunt confession, to outwit the mayor. He then stage-manages a farcical trap with Lill’ Margit on a sofa and Bilde arriving alone, a setup poised to compromise the mayor just as other guests begin to enter.
Teatterikirja : $b Kirjoitelmia ja näyttelijäkuvia
"Teatterikirja : Kirjoitelmia ja näyttelijäkuvia" by Lauri Haarla is a collection of theatre essays and actor portraits written in the early 20th century. The volume examines Finnish stage art in both aesthetics and practice, combining critical reflections on drama’s purpose with intimate psychological profiles of actors and discussions of theatre’s organization and craft. The opening of this collection declares a mission to expand Finland’s sparse theatre literature, especially through psychologically acute actor studies, while also justifying practical essays on theatre as an institution. It begins with a major portrait of Hilda Pihlajamäki as a “priestess of destiny,” contrasting her era with Ida Aalberg’s and praising her extraordinary transformative power, dramatic instinct, and matured depth. An essay on theatre’s “heroic service” then surveys history from classical Greece through the Renaissance and Schiller to modern expressionism, contrasting apollonian passivity with faustian will and arguing for theatre’s moral, personality-centered mission in a time of upheaval. A profile of Aarne Leppänen highlights his exceptional capacity for self-surrender to roles and his range from active romantic heroes to suffering figures, alongside noted limits in rapid, cerebral dialogue. A brief “genesis” of the play Synti roots its inspiration in a childhood vision of innocent suffering and a 17th‑century Finnish setting and idiom. The section closes with a sensitive portrait of Tyyne Juntto—especially her consummate Acacia in Benavente—and the start of a theoretical piece on dramatic imperatives that rejects hazy romanticism and flattening naturalism/realism in favor of a tightened, will-driven, expressionist intensity.
Töykänän aurinko : $b Yksinäytöksinen farssi
No description available.
Synti : $b Nelinäytöksinen draama
No description available.
Uskottomuus : $b 3-näytöksinen draama
"Uskottomuus : 3-näytöksinen draama" by Lauri Haarla is a three-act stage play written in the early 20th century. It centers on a fallen patriarch, Abraham Svart, and his adult children—devout Rauha, idealistic scholar Eelis, hard-nosed businessman Asser, and pleasure-seeking Kaarin—as they wrestle with faith, pride, desire, and the stain of family ruin. The title theme of infidelity triggers a moral crisis that pits spiritual ideals against raw human passion and social survival. The opening of the play presents the Svart family in a shabby attic room where Abraham drinks and spars with Rauha’s religious fervor, while Kaarin schemes for a night out and Eelis readies his future. Asser arrives and coldly refuses to finance Eelis’s philosophical work, splitting the brothers; Agnes, Eelis’s fiancée, returns shaken and confesses an affair, prompting Eelis—stung and humiliated—to strike her and flee inwardly. Act Two shifts to the old mill cottage, where gossip swirls, Rauha’s long-lost love Eerik reappears repentant and is quietly forgiven, and Eelis obsessively watches for Agnes, torn between pride and longing. When Eelis moves to fetch her, Abraham blocks him and, to harden his resolve, ends the opening by revealing that Eelis’s mother was unfaithful in the same way.
Sophonisbe : $b Murhenäytelmä
"Sophonisbe: Murhenäytelmä" by Lauri Haarla is a dramatic play written in the early 20th century. The story unfolds in the context of Karthago and follows the titular character, Sophonisbe, the daughter of Hasdrubal, a general in Carthage, as she navigates the turbulent political landscape and her own emotional struggles amidst the impending doom of war. At the start of the play, Sophonisbe is in her father Hasdrubal's garden, contemplating dreams and the harsh reality of the present with her companion Helike. Their conversation reveals a sense of foreboding regarding the fate of Karthago, and Sophonisbe expresses her anxiety about the uncertain outcome of the ongoing conflict with Rome. As the plot progresses, threats materialize from various quarters, including the emergence of love interests and the deepening crisis surrounding her fiancé Masinissa. The opening sets the stage for themes of love, sacrifice, and the devastating impact of war, drawing the reader into a historical drama filled with tension and emotional depth.
Ihmisten kapina : $b Kolminäytöksinen draama
"Ihmisten kapina : Kolminäytöksinen draama" by Lauri Haarla is a three-act play written in the early 20th century. Set in a futuristic third millennium, it dramatizes a clash between a world-dominating trust magnate, Huggs, and his idealistic son Robert, with workers, politicians, and adventurers drawn into a struggle over monopoly, justice, and human dignity. Key figures include the ruthless heir Ernst, the fragile Gertrud, the lively Graciosa, and the engineer Straum. The play explores how private power, statecraft, and family loyalties collide when an empire seeks to control the globe. The opening of the play presents Huggs in his fortress-like office, worshipping a private shrine as he rules markets and governments, while his wife Bertha pleads for their troubled son Ernst and news arrives that Robert is returning with a captured Union (Uniooni) air fleet. Huggs flaunts his dominance over ministers and a president seeking rescue, mocks a would-be royal claimant, and prepares to hand his system to Robert. When Robert arrives with Graciosa, he confronts Huggs over brutal labor policies and vows either reconciliation with the Union or open struggle; Huggs counters with a cold plan to starve Europe to win, demanding Robert’s submission before a sacred portrait, which Ernst desecrates, shattering the moment. The second act shifts to a Union shipyard where Ernst’s “Catiline’s boys” plot sabotage, Gertrud warns Straum of danger, and Robert urges workers to reject Huggs’s rich bribes and choose a peaceful, coordinated strike to stop his final monopoly; the workers agree just as Huggs appears to accuse Robert and Straum of deceiving them, claiming Europe’s fate is already sealed.
Nuorten tuomio : $b Yksinäytöksinen draama
"Nuorten tuomio: Yksinäytöksinen draama" by Lauri Haarla is a one-act drama written in the early 20th century. Set in the Lapland region during the 1830s, the play explores themes of vengeance, identity, and the consequences of past actions. It unfolds against the backdrop of a tumultuous natural environment, reflecting the inner turmoil of the characters confronting their heritage and moral dilemmas. The plot centers around Ristin, a mother deeply embittered by her past with Otto Enarsson, who seeks accountability for the misfortunes caused by his son and hers, Saulo. Saulo, caught between loyalty to his mother and his emerging feelings for Esther, Enarsson's daughter, struggles with his identity as a 'Polson boy'. The tension escalates when the two young characters discover their shared lineage, revealing Saulo to be the son of Otto. The themes of reconciliation and the impact of familial ties run throughout the story, culminating in a powerful confrontation around betrayal, love, and the pursuit of justice, leading Saulo and Esther to their decision to break free from the burdens of their heritage.