Three of Schnitzler's play's were singled out to form a volume
of The modern Drums series, (1) and six of the one-act playe
form a volume of The modern February of the World's Best Books. (2)
This is only another indiostion of Schnitzler's recognition not
merely as aniaustrian writor but as one who can take his place
beside the best from all nations. This statement will perhaps
beer more weight when strengthened by the fact that during the
world War translations continued to be published in the United
Stats. This might prove, among other things, that Schnitzler was
not regarded as an Austrian and therefore an enemy, but as
written whose works would be eagerly read. True, the German
Theater in New York City closed, but that is no reflexion on
the authors whose playe were produced there. Strangely enough,
however, the year 1919 was void of all mention of Schnitzler in
the United States. So far as I know there was not a word about
him in any nowspaper, imagine or book of that year. What the this
was pure accident or whether it was due to azustile reaction
against the Iountries, seolaimed to be guilty of such desolation
and loss of life, would be difficult to dontain, especially
since the next year ushered Schnitzler into the United States
again.
Not only were ceaders buying Schnitzler's books and Theater-
goers attending his playe, but writers of books on the Drama were
devoting pages to the discussion of Schnitzler's dramas. The
first of these weiters to take special notice of Schnitzler was
Percival Pollard who headed one chapter of his book Maske and
(1) The Lonely way: Intermerzo: Countess Mizzie
ne Green Cockatoo
2.) Knätöl: Living No