xx
-6-
1 '' „ „ 4'„ —
offer him and only asks to be allowed to return to his work and to
remain true to the highest Comals of his profession.
Some of Schnitzler's other chief days are: Der grüne Kokadu
(1892), Reigen (1900), Lebendige Stunden (four one-act playe), Der
einsame Weg (1903), Marianetten (three one-act playe), Komtesse
Mizzi (1907), Das weite Land (1910), Komödie der Worte (three one-act
plays), Fink und Fliederbusch (1917), Komödie der Verführung (1924),
Gang zum Weiher (1926). Some of his chief shortauries are: Sterben
(1892), Die Frau des Weisen (1896), Der blinde Geronimo und sein
Bruder (1900), Leutnant Gustl (1900), Frau Berta Garlan ( 1900),
Die dreifache Warnung (1912), Die Hirtenflöte (1911), Frau Beate und
ihr Sohn (1913), Doktor Gräsler (1917), Casanovas Heimfahrt (1918),
Die Frau des Richters (1925), and Spiel im Morgengrauen (1927).
Schnitzler achieved his greatest success perhaps in the field of
the one-act play, the fittest locale for nood, temperament, and atmos-
phere. Here he is universally regarded as a supreme master and has
scarcely a rival in German literature. "Am allerpersönlichsten und
freisten ist denn auch Schnitzler in den kleinen Einaktern geblieben",
weites Julius Bab. It would seem that his genus flames into greater
intensity the more circumscribed the area is in which he works.
Der Pupfenspieler which is here represented has for its motif the ironic
tragedy of those people who believe that they can guide the destinies
of others as if they were so many Kuppets and generally¬
that fate has played with them instead. Again and again Schnitzler'
characters come back to the point where they cannot differentiate
between truth and illusion. That life is but a stage is a common idea
in his works and has found perhaps its best expression in its briefest
form in the words of Paracolsus in the one-act play of the same name:
mölisher.
-6-
1 '' „ „ 4'„ —
offer him and only asks to be allowed to return to his work and to
remain true to the highest Comals of his profession.
Some of Schnitzler's other chief days are: Der grüne Kokadu
(1892), Reigen (1900), Lebendige Stunden (four one-act playe), Der
einsame Weg (1903), Marianetten (three one-act playe), Komtesse
Mizzi (1907), Das weite Land (1910), Komödie der Worte (three one-act
plays), Fink und Fliederbusch (1917), Komödie der Verführung (1924),
Gang zum Weiher (1926). Some of his chief shortauries are: Sterben
(1892), Die Frau des Weisen (1896), Der blinde Geronimo und sein
Bruder (1900), Leutnant Gustl (1900), Frau Berta Garlan ( 1900),
Die dreifache Warnung (1912), Die Hirtenflöte (1911), Frau Beate und
ihr Sohn (1913), Doktor Gräsler (1917), Casanovas Heimfahrt (1918),
Die Frau des Richters (1925), and Spiel im Morgengrauen (1927).
Schnitzler achieved his greatest success perhaps in the field of
the one-act play, the fittest locale for nood, temperament, and atmos-
phere. Here he is universally regarded as a supreme master and has
scarcely a rival in German literature. "Am allerpersönlichsten und
freisten ist denn auch Schnitzler in den kleinen Einaktern geblieben",
weites Julius Bab. It would seem that his genus flames into greater
intensity the more circumscribed the area is in which he works.
Der Pupfenspieler which is here represented has for its motif the ironic
tragedy of those people who believe that they can guide the destinies
of others as if they were so many Kuppets and generally¬
that fate has played with them instead. Again and again Schnitzler'
characters come back to the point where they cannot differentiate
between truth and illusion. That life is but a stage is a common idea
in his works and has found perhaps its best expression in its briefest
form in the words of Paracolsus in the one-act play of the same name:
mölisher.