I, Erzählende Schriften 30, Casanovas Heimfahrt, Seite 42

asanovas Heimfahr
30. C.t box 4/10
speech of the Graf Niederhof, contributed by
an absolute outsider, by name Fink, but
accepted by the editor because of its absolute
brilliancy. Fink is, of course, Fleederbusch,
but no one recognizes the deception. He
FINk UNn Fuinneksuseh. A Comedy. By
comes to the office of the reactionary organ
Akrnuk Senwirzurn. (Berlin: Fischer,
and there meets the subject of his panegyric,
This #o#
who agrees to take him into the service ofthe
paper, which he is about to buy. All this is
CasaNovas Hmmrankr. A“ Novelle.“ By
and since !
excellent satire on the conditions prevailing
with the
Akrnun Schsirzenn. (Berlin: Fischer.
in Viennese journalism before the war. The
natural to
4m, 50pf.)
element of farce enters wlien Fliederbusch, as
Arthur Sehnitzler is one of the few German
Fink, finds himself committed to fight a duel
Mr. Hud
writers who threughout remained entirely
with himself as the author of the article in
Birds in
the Gegenuurt he had handed in the evening
unaffected by the war, so far as his published
new sectio
before. Much sympathy is expressed with
writings go. On the whole that is to his
him by the Graf Niederhof, and the rest of
credit, for probably no national literature
the play consists almost entirely of the
showed such an outburst of unreasoning
birds whlic.
unravelling of this farcieal situation. It is
chauvinis.n or disingennous propaganda as
to foster,
allowed to develop as far as the moment
did the German during at least the first
have unde
before the duel, when Fink and Fliederbusch
eighteen months of the war. From all this,
finch is I
are shown to be one and the same person.
however, Schnitzler stood conspienously
Fliederbusch defends himself—as, without
apart, not with any self-conscious“ above
glass case
betraying the secret, he had previonsly de¬
the battle?’ advertisement or complacency,
given it by
fended himself by implication in conversations
but simply in silence, making no reference,
familiar on
with Graf Niederhof—by declaring that a man
direct or indirect, to the great struggle which
and the 1
has a right to think one thing one day and
lus conntry had provoked. He wrote no pro¬
stocked w.
something totally opposite the next. He
By organi
paganda for the newspapers, he gave no
asserts, however, that both are to disappear
interviews on political subjects, he was not
and the#
—both Fink and Fliederbusch.“ The day
sent to the front to do descriptive journalism
lifted fron
before Festerday I was Fliederbusch; yester¬
—a lot which fell to several of his younger
by agencie
day I was Fink. To-day I am both, or
colleagues. The war, with all its horror,
perhaps neither one nor the other.?’ Then
passed over him unobserved: he continued
follows a brisk bidding between the rival
his work as if nothing were happening.
welfare o
editors of the Gegenwart and the Elegante
The main characteristics of Schnitzler’s
Welt for the services of this remarkable young
altered by
work, both in drama and in prose-stories, are
man. But he deelines, and the whiole party
1917, and
well known. As far as the latter go. he has
goes off to lunch at the invitation of Graf
been called the“ German Guy de Maupas¬
Niederhof, nothing being settled. As Flieder¬
that of K
sant, Which more or less conveys a right
busch remarks: Must everything be settled
all of whit
impression. His dramatie genius has had
(erledigt)! Can anything be settled? Was
certain Sp
varied expressions, ranging from the serious
I born to settle anything? Others can do
the forme
Liebelei, translated into English under the
in a few:
that!? And so there is, what is unusual with
title Playing teith Lore, to the irresponsible
farces, an inconclusive ending. The play
and grotesque Der Grüne Kakadu or the
owing to
does not displease on that account, however.
series of one-act plays Angtol, whiich Mr.
during th
Though not of the brilliance and polish of.
Granville Barker adapted and presented to a
say, Anatol, where every sentence sparkles,
In one
London audience afew months before the out¬
it is still en entertaining picture of Viennese
Mr. Hude
break of the war. There is some point in
life—of that Vienna which may have gone
Britain o
recalling these facts concerning Sehnitzler’s
for ever.
fill the p.
work, if only to remark that in nothing that
claim thr
*Casanovas Heimfahrt' is entirely different.
he wrote during the war did he strike out
stich a po¬
It is not a comedy; there is nothing satirical
into new directions.
only oft!
or farcical about it. It is an episode from
Early in the war he wrote a further series
the life of the famons adventurer, eriminal,
of three one-act plavs, published in 1915 under
The mult
and writer, entirely invented by Schnitzler,
the title of Komödie der Worte. This was, so
few sease
but obviously written after a careful study
to speak, in the Anafof manner. Then
and the b
of and abrorption of Casanova’s auto¬
came a novel, published in 1917, with the
the wors
biography—hat faithful reflection of the
titie" Doktor Gräsler, Badearzt,'’ which is
as of gal
scholarly, blackguardly, utterly immoral,
the comedy of a doctor at a health-resort.
half a do
witty, unserupulous man that he was—and
Finally, also during the war—for nothing from
a poor e,
age that he lived in. The title of the
his pen has appeared since the Armistice,
novelle'’ cornes from the fact that the time
though a new Casanova episode is just
of the action is chosen at the moment when
annouinced—Sehnitzler wrote this full¬
Casanova is returning to Venice from Mantua,
his und
length comedy, Fink und Fliederbusch, which
after years of enforced exile. At the latter
has been played with success, and the
eity he falls in with an old friend, O).vo,
“novelle,' Casanovas Heimfahrt,'’ which,
whose wife had been Casanova’s lever.
winter a
if we may judge from the fact that it now
He has, however, lost all love for her.
bles am
stands in its fortieth impression, also appears
fierce affection has faller on a voung girl,
years ber
to have been given a most favourable recep¬
Marcolina, who is staving with Olivo. She
tion in Germany and Austria. Both works
i reputed u bluestocking, and does indeed
been for
are of partieular interest as exemplifying the
Zirprise Casanova be the erndlition she

chsplays in diseussing with him his proposed
und the sensnous, ummoral, of Sehmitz¬
reply to Voltaire. Her learning does not
which p
ler’s literary art.
diminish his passion, and he watches to #see
Arthur Schnitzler is supremely the artist
whether her reputation is sustained. He
flock, ju
of Viennese life—that is, of life in Vienna
soon finds that Marcolina is in the habit of
in the
before the war. No one, unless it be his
receiving a voung soldier, Lorenzi, who
bireis or
fellow-conntryman Hermann Bahr, has
escapes from her room at dawn. With him
painted so brilliantly the gaiety, the irre¬
Casanova makes a shameful bargain, in con¬
sponsibility, the materialistie, the sensnous,
sideration of writing off bis heavy debt at
for a lor
and pleasure-loving life of the Austrian
cards. But Marcolina discovers the decon¬
is evider
capital. In Anatol it is Viennese intrigue,
ton, and Lorenzi, regretting his weakness
dhe amtours ei tlie citv, Wilieh ar