Blau production, Herr Beer-Hoffmann, worked, although for the most part he
Richard Beer-Hoffmann, a major poet wrote standing up before a little old¬
in the German language and father of fashioned slant desk that stood before
the present director of "Anatol," is a a broad bay window looking out into
his gardens, from which he seemed to
neighbor of Dr. Arthur Schnitzler, liv¬
ing in the outskirts of Vienna. One derive no end of inspiration both from
day when I was taking tea with the working in them and looking down
upon them.
Beer-Hoffmanns I was asked if I had
I asked him to explain how he could
met Schnitzler. I said "No," but I
would like to meet him, although I had write more than one thing at a time.
Writes Play and Novel Together
been told generally that that was im¬
"I like to write a play and a novel at
possible. Herr Beer-Hoffmann assured
me that it was not difficult at all. He same time. By that I mean when
went to the telephone and called up of writing the
the doctor. A ten minute tal followed the
and he returned saying he was sorry the two are so very different.
but Dr. Schnitzler was averse to meet¬
feel the dead weight of it after I have
ing strangers.
A few weeks later I told this anec¬
been writing steadily for some time;
dote to the late Hugo von Hoffmanns¬
whereas playwriting is always ex¬
thal (writer of the scores of many of
citing and I pause when it has ex¬
Richard Strauss's famous operas), also
an intimate of Schnitzler. He sat down
and wrote a letter to him and arranged
play one off against the other and find
to make an appointment for me by
that many problems that seemed im¬
telephone after the letter had been re¬
possible yesterday come with less di¬
ceived. This led to an appointment to
culty when I turn back to the after
see Schnitzler that was broken three
a days exercise in a quite different field
times, as though he repented of it, be¬
fore I was finally invit à to come post creation. My last two books and
play I wrote in this mannerall at
tively.
once, so to speak. And I finished them
Through a most regrettable circum¬
all at one time nearly,
stance I mislaid the precious address¬
My critics sometimes say that I am
that does not appear in any directory
or telephone book. I trusted to me always concerned in some way with the
ory and rang the bell or nearly every virtue of women. I suppose that is
true, since I find that most of the
villa on Sternwartestrasse before I hit
passionately dramatic things of life
upon the Schnitzler menage. Every one
especially its tragedies are concerned
with the virtue or lack of it of
women. There are some who say that
the virtue of women has altered since
the war. But I do not think so. The
change is really not so great as we read.
People are much the same; surely human
nature has not altered. The human
boundaries only are changed more
freedom is given to go out, which, alas,
has its corollary, implying there is
more freedom to invade the private
life and person. There are chain and
penates of freedom as well as et im¬
prisonment.
The great thing is that women in
ever increasing numbers are no longer
in the home, but are out working, and
that I find in itself is a very excellent
change. If it gives the woman freedom
it also equips her with independence.
She earns her own money and can
choose her own friends, loyers if she
will, like a man. Of course there is
always danger of her losing the in¬
dispensable qualities of womanhood.
Between the lines and words, we
may discern Schnitzlers attitude to¬
ward The Affairs of Anatol." Written
in those days of gay Vienna, before
the war, any romantic adventures were
possible nay, probable, according to
Schnitzler, Only Schnitzler would have
dared to write and try to produce the
most audacious play of its period¬
Reigen" that was variously acclaimed
and obbed even in liberal Vienne
and finally proscribed even in the
printing. The gloomiest tragedy stalks
through his mind rubbing elbows or
wings with oasis comedy and elfish
fantasy. Always tinged and pierced
with the flaming spear of virtue.
Refuses to Visit America
The next time I saw Schnitzler, he
had finished "Spiel im Morgengrau
but three days before and had selected
this title after many changes. He was
as happy as a child over it. His
Traum Novelle" was running in Van-
ity Fair at the time. His novels were
all being published regularly in Eng¬
lish and his plays were being spoken
of frequently for our stage.
"Why don't you come to America¬
you would create a vogue, like so many
other foreigners?" I asked him.
"Oh, no, I am afraid of many things.
Continued on page four)