In order to follow it with critical precision, Leydecker adopts Michael Titzmann's theory of 'interpretative Literaturgeschichte' as a model or framework for his analysis of famous plays, such as Heimat and Es lebe das Leben
, and others less well known, such as his interesting postwar play Die Denkmalsweihe of 1923, in relation to their socio-historical and economic environment and as reflections of its 'Denksystem'.
This exposition of models and contexts sets up the terms of reference for an analysis of a wide range of Sudermann's plays, including Das Gluck im Winkel, Es lebe das Leben
and Die Freundin, which are shown to 'turn on the conflict between the principle of the indissolubility of marriage on the one hand and the principle that marriages must be based on Romantic love on the other (p.258).
Sudermann's subsequent problem plays, notably Gluck im Winkel (1895; The Vale of Content), Morituri (1896; "They Who Are About to Die"), Es lebe das Leben
! (1902; The Joy of Living), and Der gute Ruf (1913; A Good Reputation), were usually successful on the stage of his time, but, because his work is often sentimental and his criticism of contemporary society--a recurrent motif--is generally considered to be superficial, his plays are seldom staged today.