raunnovelle
33. T. unnchehen pchchen
60
0
MAY
1927
SCHNITZLER, ARTHUR, Ithapsody; a dreum
novel;
Otto P.
from the German by
Schinnerer. 167p 81.50 Simon & Schuster
27-4323
In a moment of close communion Fridolin
and Albertina confess to each other slight but
never forgotten episodes of the past. These
confessions wake in Fridolin a longing for new
romantie adventure. and in the happenings of
the next night—real or fancied, we do not know
his longings are half thwarted, half fulfilled.
He returns at dawn as Albertina wakes from
a dream experience as bizarre and haunting as
his own. Husband and wife make fresh con¬
fession and find peace.
The plot is simple enough; alone the skil¬
ful intertwisting of the threads of fantasy and
reality complicates the pattern. The style of
the writing—even in translation—is smooth,
direct und ample, a stgie which, as Viennn ap¬
preciates, shows off subtle material to the best
advantage.“ Babette Deutsch
Books (NV Herald Tribune) p2 Mr 6
27 880W
Arthur Schnitzler is never the insipid writer
who tacks heat morals and solutions to the end
of his tales. Mis brilliant prose, the marvelous
exposition of the storg, scenes which innke
startling contrast as they unfold in unhurried
sequence—these have gone into the making of
a novel which leaves behind more than a vivid
story, dream-like though it be.“ S.
Boston Transcript pé Mr 23 27 800w
As always with Schnitzler’s work, there is
about this a gentleness and a dramatie simplie¬
which translate Freudian complexity into
charming prose.“
Ind 118:320 Mr 19 27 90w
If one reads it simply as a story, ene finds
in it all the elusive beauty and imaginative
logle of a fairy tale. It has, too, a great deal
of the fairy tale’s hallneinatory vividness: it
combines, as the fairy tale does, and as poetry
does, the palpable and the impalpable, the tan¬
gible and the intangible.“ Conrad Aiken
+ Lit R p4 Ap 2 •27 1000w
Together theme and ’counter-subject’ make
Rhapsody, for all its brevity and unpre¬
of
tentioasness of scope, a fine füghetto of modern
life.“ Ruth Sapin
+ Nation 124:456 Ap 20 “27 560w.
-Rhapsody.“ Schnitzler’s latest story, is
neither flawless nor so terrifying as Beatrice“
but it is exciting, it keeps yon breathless, it
is rich in profound little pietures of the sonl.
My objections to Rhapsody' are naturally t0
it which lessen mny pleasure
those places in
P.
while reading.“
New Repub 50:203 Ap 6 27 720w
°So exceedingly and reticently has Dr.
Schnitzler worked out this theme that the cas¬
uni reader is aware of no more than a fantastie
novelette compact of sürface movement and se¬
lective progression, it is a tale to be read for
the compelling suspense of the action in itself
and get it is a revelation of a happy married
life that is ominous witk the nuances of such
an äpparently sedentary existence.!
NV Times p5 Mr 27 27 780w
bos 5/7
C
—.
BRIEFER MENTION
Tnz Minisrek’s Davcaren, by Hildur Dixelius, translated from the
Swedish by Anna C. Settergren (12mo, 277 pages; Dutton: 5z.go) conveys
its picture of the life and heart of a woman farmer of Sweden at the
beginning of the nineteenth century with few of what we are accustomed to
regard as “scenes''; and those which are presented are kept to their
minimum essentials with a firm though uninsistent sort of brevity and
delicacy. Yet nothing is lost. The tale is in one piece, a perfect example
of sustained tone, and with the kind of artistic abstinence it practises, the
reader is apt to feel more than ever the depth and stature as well as the
simplicity of the lives pictured.
Ruarsony, by Arthur Schnitzler, translated from the German by Otto P.
Schinnerer (Tzmo, 167 pages; Simon and Schuster: Si.go) hovers on that
borderland of melancholy and medicine which the Viennese novelist has
made peculiarly his own. Fridolin—entering a costume shop¬-'ffelt as
though he were walking through a gallery of hanged people wlio weic on
the point of asking each other to dance.'’ And the Podor of silk, velvet,
perfume, dust and withered flowers'’ which the author describes as per¬
meating the scene, clings in a sense to the entire story. Schnitzler seems to
be holding an ether cone over his characters while he deftly dissects their
emotions—it is delicately and wisely done.
Tur Gnosr Boox, edited by Cynthia Asquith (1zmo, 327 pages; Scribner:
52) contains sixteen stories of the supernatural by various modern writers
such as D. H. Lawrence, Arthur Machen, Walter de la Mare, May Sin¬
clair. The average of ingenuity is high, a desideratum, since so much in
the ghost story, as in the Féance, depends upon stage management. The
radio of course makes its appearance as a source of spectrality, and there
is among the sixteen concoctions at least one very entertaining mixture of
humours and horrors.
ANpr Bkayor’s Ank, by Edna Bryner (12mo, go4 pages; Dutton: 52.g0)
has the solid reality of books born of necessity. The projection of“
rounded femininity, it has gotten itself down through the author’s intuitive
grasp of the nervature of complex group-situations, and the massive articu¬
lation of the subtly related characters. Because the protagonist comes to a
realization of herself and her attitude toward life in awakening from an
illusion constructed about her mother, and in recognizing the connexion
between the democratic American mess and the dominance of the type of
woman who manages to wind her family about her person, the work has
humorously been misconceived as an attack on the great domestic institu¬
tion. The novel is readily to be felt as the climax of a rejection of the#
parasitic, purely abdominal and digestive personality so rankly produced
by American society, and the salutation of the self-determined, generous,
and generative individual, integer of a state of culture.
33. T. unnchehen pchchen
60
0
MAY
1927
SCHNITZLER, ARTHUR, Ithapsody; a dreum
novel;
Otto P.
from the German by
Schinnerer. 167p 81.50 Simon & Schuster
27-4323
In a moment of close communion Fridolin
and Albertina confess to each other slight but
never forgotten episodes of the past. These
confessions wake in Fridolin a longing for new
romantie adventure. and in the happenings of
the next night—real or fancied, we do not know
his longings are half thwarted, half fulfilled.
He returns at dawn as Albertina wakes from
a dream experience as bizarre and haunting as
his own. Husband and wife make fresh con¬
fession and find peace.
The plot is simple enough; alone the skil¬
ful intertwisting of the threads of fantasy and
reality complicates the pattern. The style of
the writing—even in translation—is smooth,
direct und ample, a stgie which, as Viennn ap¬
preciates, shows off subtle material to the best
advantage.“ Babette Deutsch
Books (NV Herald Tribune) p2 Mr 6
27 880W
Arthur Schnitzler is never the insipid writer
who tacks heat morals and solutions to the end
of his tales. Mis brilliant prose, the marvelous
exposition of the storg, scenes which innke
startling contrast as they unfold in unhurried
sequence—these have gone into the making of
a novel which leaves behind more than a vivid
story, dream-like though it be.“ S.
Boston Transcript pé Mr 23 27 800w
As always with Schnitzler’s work, there is
about this a gentleness and a dramatie simplie¬
which translate Freudian complexity into
charming prose.“
Ind 118:320 Mr 19 27 90w
If one reads it simply as a story, ene finds
in it all the elusive beauty and imaginative
logle of a fairy tale. It has, too, a great deal
of the fairy tale’s hallneinatory vividness: it
combines, as the fairy tale does, and as poetry
does, the palpable and the impalpable, the tan¬
gible and the intangible.“ Conrad Aiken
+ Lit R p4 Ap 2 •27 1000w
Together theme and ’counter-subject’ make
Rhapsody, for all its brevity and unpre¬
of
tentioasness of scope, a fine füghetto of modern
life.“ Ruth Sapin
+ Nation 124:456 Ap 20 “27 560w.
-Rhapsody.“ Schnitzler’s latest story, is
neither flawless nor so terrifying as Beatrice“
but it is exciting, it keeps yon breathless, it
is rich in profound little pietures of the sonl.
My objections to Rhapsody' are naturally t0
it which lessen mny pleasure
those places in
P.
while reading.“
New Repub 50:203 Ap 6 27 720w
°So exceedingly and reticently has Dr.
Schnitzler worked out this theme that the cas¬
uni reader is aware of no more than a fantastie
novelette compact of sürface movement and se¬
lective progression, it is a tale to be read for
the compelling suspense of the action in itself
and get it is a revelation of a happy married
life that is ominous witk the nuances of such
an äpparently sedentary existence.!
NV Times p5 Mr 27 27 780w
bos 5/7
C
—.
BRIEFER MENTION
Tnz Minisrek’s Davcaren, by Hildur Dixelius, translated from the
Swedish by Anna C. Settergren (12mo, 277 pages; Dutton: 5z.go) conveys
its picture of the life and heart of a woman farmer of Sweden at the
beginning of the nineteenth century with few of what we are accustomed to
regard as “scenes''; and those which are presented are kept to their
minimum essentials with a firm though uninsistent sort of brevity and
delicacy. Yet nothing is lost. The tale is in one piece, a perfect example
of sustained tone, and with the kind of artistic abstinence it practises, the
reader is apt to feel more than ever the depth and stature as well as the
simplicity of the lives pictured.
Ruarsony, by Arthur Schnitzler, translated from the German by Otto P.
Schinnerer (Tzmo, 167 pages; Simon and Schuster: Si.go) hovers on that
borderland of melancholy and medicine which the Viennese novelist has
made peculiarly his own. Fridolin—entering a costume shop¬-'ffelt as
though he were walking through a gallery of hanged people wlio weic on
the point of asking each other to dance.'’ And the Podor of silk, velvet,
perfume, dust and withered flowers'’ which the author describes as per¬
meating the scene, clings in a sense to the entire story. Schnitzler seems to
be holding an ether cone over his characters while he deftly dissects their
emotions—it is delicately and wisely done.
Tur Gnosr Boox, edited by Cynthia Asquith (1zmo, 327 pages; Scribner:
52) contains sixteen stories of the supernatural by various modern writers
such as D. H. Lawrence, Arthur Machen, Walter de la Mare, May Sin¬
clair. The average of ingenuity is high, a desideratum, since so much in
the ghost story, as in the Féance, depends upon stage management. The
radio of course makes its appearance as a source of spectrality, and there
is among the sixteen concoctions at least one very entertaining mixture of
humours and horrors.
ANpr Bkayor’s Ank, by Edna Bryner (12mo, go4 pages; Dutton: 52.g0)
has the solid reality of books born of necessity. The projection of“
rounded femininity, it has gotten itself down through the author’s intuitive
grasp of the nervature of complex group-situations, and the massive articu¬
lation of the subtly related characters. Because the protagonist comes to a
realization of herself and her attitude toward life in awakening from an
illusion constructed about her mother, and in recognizing the connexion
between the democratic American mess and the dominance of the type of
woman who manages to wind her family about her person, the work has
humorously been misconceived as an attack on the great domestic institu¬
tion. The novel is readily to be felt as the climax of a rejection of the#
parasitic, purely abdominal and digestive personality so rankly produced
by American society, and the salutation of the self-determined, generous,
and generative individual, integer of a state of culture.