box 9/4
4.9. Anatol
Zyklu-
TRIBUNE
gathered flowers are arranged upon a
table, set for two. The lamp is lit, the
curtains are drawn. The old house¬
keeper discreter even than her dwell¬
ing, moves noiselessly to serve the
dishes and withdraws. The two are
left togethera gentleman of upper¬
class Vienna, a lady of any class, or
none.
We have seen this comedy before,"
you say at first. It is sensuous, base.
It is none of these, for Schnitzel is a
magician. An honorable magician,
moreover. His work is never ugly. He
avoids sensuality by his honesty as an
artist. There is nothing unnatural
nothing immoral, nothing even furtive
for him in the relationship of lover
and mistress. A certain discretion is
preserved that is all.
He traces the psychology of the in¬
timacy. Within the limits he has
chosen for himself he tells everything
that can be told, and much that the
lesser artist is afraid to tell. Details of
circumstances are nothing to him¬
moods everything. His drama depends
upon a crisis in the lives of two peo¬
ple the inevitable passing from old,
relationships to new. No lash of
thought escapes him. He records ever
motive. In the crisis itself there can
be no compromise. The break must
come when one of the lovers desires it,
however faintly.
As long as romance spreads her wing
the intimacy last; the instant they are
folded it must come to an end at what¬
ever cost of suffering. That is the first
condition of equality between men and
women, a brutal condition, but one
which must be faced. In the moment
of party pity is a dishonorable emo¬
tion, chivalry the grossest form of pat-
ronage, sentimentality a nauseous drug.
Even the most cynical frankness is
fairer, and that is Schnitzlers weapon.
Angelic as the looks, che is a storm center in the forces particularly
He analyzes the transition moment
in the trial scenes
the scenes of "Anatol. Outwardly
between the lovers, all is just as it was
upon the first evening inwardly every¬
thing is changed. The man must be
Schnitzler’s Affairs of Anatol
free. Conversation grows lame. At
last the explanation comes, and the
Summe pysty Dukes von departs, sometimes with an
outstretched hand and a glance of un¬
derstanding, sometimes helplessly in
COLLEGE freshman was asked Dramatists that are used as an intro¬
tears or riotously in a storm of indig¬
once to make up sentences, duction to the Modern Library edition nation. For these latter types the man
has only a shug of the shoulders as
using certain names in such a of Anatol.
The most famous of Schnitzlers he lights a cigarette. They offend his
way that they would show he knew who
sense of decorum and compel him to
or what they were. He used the name
plays, wrote Mr. Dukes, is "Lebele
in the English version ration regard them as inferiors.
Loti by saying that "The Loti are
For the others he bears a touch of
tribe of Indians in Wyming," and but in reality they are all "Lieble,
melancholy as a sign of mourning. He
Schnitzler was identified as a brand of from "Anatol to the "Countes, Mitzi
will think of them in future twilligh
beer in Germany.
The moralist will find ration
While such egregious ignorance is euphemism, but Schnitzler has nothing moods. But a few weeks later he will
rare, it remains true that Schnitzler to do with moralists or morality. His here a new room in another side street
known to only a small group in America subject is always the same the lover (not the same room, for that would be
as compared with his extensive follow and a mistress or two. It is treated unbeautiful) for the reception of an¬
ing throughout Europe. Only during gracefully enough, with little passion other mistress, and the old light of love
the last few yet have his novels and much gentle melancholy, little will pass to a new lover.
There is Anatol, the Schnitzler hero,
gained popularity here. And few are humor and much wit. His power lie¬
familiar with his plays. However, in chiefly in the creation of an atmos¬ and there are the Schnitzler heroines
one finds in his company. They have
central Europe and especially in his pherea dim twilight atmosphere a
native Vienna Anatol" and his other of autumn evenings crowded with most of the vices of their city and the
plays are regularly revived every season reminiscence. It is indescribably quintessence of its charm, frivolity
charming and completely aimless. A tinged with regret and intrigue with
or 50.
His fame in the United States has crisis arrives, à catastrophe occurs; but grace.
he to await the development that has it is an intimately personal catastrophe
now come about of a sophisticated au¬ accepted with ironical resignation by
4.9. Anatol
Zyklu-
TRIBUNE
gathered flowers are arranged upon a
table, set for two. The lamp is lit, the
curtains are drawn. The old house¬
keeper discreter even than her dwell¬
ing, moves noiselessly to serve the
dishes and withdraws. The two are
left togethera gentleman of upper¬
class Vienna, a lady of any class, or
none.
We have seen this comedy before,"
you say at first. It is sensuous, base.
It is none of these, for Schnitzel is a
magician. An honorable magician,
moreover. His work is never ugly. He
avoids sensuality by his honesty as an
artist. There is nothing unnatural
nothing immoral, nothing even furtive
for him in the relationship of lover
and mistress. A certain discretion is
preserved that is all.
He traces the psychology of the in¬
timacy. Within the limits he has
chosen for himself he tells everything
that can be told, and much that the
lesser artist is afraid to tell. Details of
circumstances are nothing to him¬
moods everything. His drama depends
upon a crisis in the lives of two peo¬
ple the inevitable passing from old,
relationships to new. No lash of
thought escapes him. He records ever
motive. In the crisis itself there can
be no compromise. The break must
come when one of the lovers desires it,
however faintly.
As long as romance spreads her wing
the intimacy last; the instant they are
folded it must come to an end at what¬
ever cost of suffering. That is the first
condition of equality between men and
women, a brutal condition, but one
which must be faced. In the moment
of party pity is a dishonorable emo¬
tion, chivalry the grossest form of pat-
ronage, sentimentality a nauseous drug.
Even the most cynical frankness is
fairer, and that is Schnitzlers weapon.
Angelic as the looks, che is a storm center in the forces particularly
He analyzes the transition moment
in the trial scenes
the scenes of "Anatol. Outwardly
between the lovers, all is just as it was
upon the first evening inwardly every¬
thing is changed. The man must be
Schnitzler’s Affairs of Anatol
free. Conversation grows lame. At
last the explanation comes, and the
Summe pysty Dukes von departs, sometimes with an
outstretched hand and a glance of un¬
derstanding, sometimes helplessly in
COLLEGE freshman was asked Dramatists that are used as an intro¬
tears or riotously in a storm of indig¬
once to make up sentences, duction to the Modern Library edition nation. For these latter types the man
has only a shug of the shoulders as
using certain names in such a of Anatol.
The most famous of Schnitzlers he lights a cigarette. They offend his
way that they would show he knew who
sense of decorum and compel him to
or what they were. He used the name
plays, wrote Mr. Dukes, is "Lebele
in the English version ration regard them as inferiors.
Loti by saying that "The Loti are
For the others he bears a touch of
tribe of Indians in Wyming," and but in reality they are all "Lieble,
melancholy as a sign of mourning. He
Schnitzler was identified as a brand of from "Anatol to the "Countes, Mitzi
will think of them in future twilligh
beer in Germany.
The moralist will find ration
While such egregious ignorance is euphemism, but Schnitzler has nothing moods. But a few weeks later he will
rare, it remains true that Schnitzler to do with moralists or morality. His here a new room in another side street
known to only a small group in America subject is always the same the lover (not the same room, for that would be
as compared with his extensive follow and a mistress or two. It is treated unbeautiful) for the reception of an¬
ing throughout Europe. Only during gracefully enough, with little passion other mistress, and the old light of love
the last few yet have his novels and much gentle melancholy, little will pass to a new lover.
There is Anatol, the Schnitzler hero,
gained popularity here. And few are humor and much wit. His power lie¬
familiar with his plays. However, in chiefly in the creation of an atmos¬ and there are the Schnitzler heroines
one finds in his company. They have
central Europe and especially in his pherea dim twilight atmosphere a
native Vienna Anatol" and his other of autumn evenings crowded with most of the vices of their city and the
plays are regularly revived every season reminiscence. It is indescribably quintessence of its charm, frivolity
charming and completely aimless. A tinged with regret and intrigue with
or 50.
His fame in the United States has crisis arrives, à catastrophe occurs; but grace.
he to await the development that has it is an intimately personal catastrophe
now come about of a sophisticated au¬ accepted with ironical resignation by