13.
1.° 11
1.
is an accusation which recurs often in criticisms of Schnitzler's
dramatic works. That he is a master of the "Einakter" is generally
conoursed. Alfred Kerr (45), alone, who in the period embrac¬ by
this study was perhaps the outstanding dramaticoritic of the Ger-
man drama, preised this work. Of Freiwild he said: "Der ungewöhn-
lich feine Uariss des Ganzen, diese Linien, wie vom Silberstift
gezeichnet, diese meisterliche Schlankheit, kurz, das, was dieser
Glückliche im gegenwärtigen Deutschland allein besitzt: das ist
vorhanden." (46)
Schnitzler gained back some lost ground with his next play.
Vermächtnis, which, like the drama just mentioned had its premiere
in Berlin at the Deutsches Theater on October 8, 1898. The opening
was well attended and the work was received with considerable en-
thusiasm, yet it was apparent from the start that a long run was
not assured. Alfredern, in his perculiar, yet charming oritical
style, gives in four terse s[s]ntences a most Kornhensive criticism.
"Ich hörte einst die süsse Stimme eines Knaben. Dann bekam er
Stimmwechsel. Schnitzler stammt von einem dramatischen Meister.
Er weist in die Zukunft.“ (47)
With the drama of the French Revolution. Der Grüne Kakadu,
which & tracted much interest during the last two years of the
nineteenth century, Schnitzler receptured whatever favor he may
have lost with his tworieceding playe. This one act play was
45. See Alfredern's complete oritical works. Die Welt im Drama.
S. Fischer Verlag. Berlin. 1917. Vol. I. 119-47 contains
criticisme of Schnitzler.
46.
Die Neue Deutsche Rundschau.
VII. 1229. December 1896
47. Die Neue Deutsche Kunischau, IX. 1319. December 1898.
1.° 11
1.
is an accusation which recurs often in criticisms of Schnitzler's
dramatic works. That he is a master of the "Einakter" is generally
conoursed. Alfred Kerr (45), alone, who in the period embrac¬ by
this study was perhaps the outstanding dramaticoritic of the Ger-
man drama, preised this work. Of Freiwild he said: "Der ungewöhn-
lich feine Uariss des Ganzen, diese Linien, wie vom Silberstift
gezeichnet, diese meisterliche Schlankheit, kurz, das, was dieser
Glückliche im gegenwärtigen Deutschland allein besitzt: das ist
vorhanden." (46)
Schnitzler gained back some lost ground with his next play.
Vermächtnis, which, like the drama just mentioned had its premiere
in Berlin at the Deutsches Theater on October 8, 1898. The opening
was well attended and the work was received with considerable en-
thusiasm, yet it was apparent from the start that a long run was
not assured. Alfredern, in his perculiar, yet charming oritical
style, gives in four terse s[s]ntences a most Kornhensive criticism.
"Ich hörte einst die süsse Stimme eines Knaben. Dann bekam er
Stimmwechsel. Schnitzler stammt von einem dramatischen Meister.
Er weist in die Zukunft.“ (47)
With the drama of the French Revolution. Der Grüne Kakadu,
which & tracted much interest during the last two years of the
nineteenth century, Schnitzler receptured whatever favor he may
have lost with his tworieceding playe. This one act play was
45. See Alfredern's complete oritical works. Die Welt im Drama.
S. Fischer Verlag. Berlin. 1917. Vol. I. 119-47 contains
criticisme of Schnitzler.
46.
Die Neue Deutsche Rundschau.
VII. 1229. December 1896
47. Die Neue Deutsche Kunischau, IX. 1319. December 1898.