I, Erzählende Schriften 30, Casanovas Heimfahrt, Seite 111

asanovas Heimfah
eneeeee . A AH
Books by Color
Norothe Vogue
Bindings Designate Na¬
ture of Contents of
New Series
The consideration of publishers for
the reading publie these days is qulte
overwhelming. Simon & Shuster, for
instance, are issuing their new dollar
books In three colors, and not for
mere decorative purposes, The three
colors are veritable llghthouses of in¬
formation for the storm-tossed reader.
Blue stands for "books In a more or
less serlous veln.“ Red stands, not for
danger, but for books of a lighter na¬
ture. Whereas green stands neither
for books serlous, not so serlous, nor
even for books nôt at all serlous; green
stands for detective and mystery
Henceforth, I buy my books by col¬
or alone; brown for bromides, pink for
pofnography, black for bum blogra¬
phy, yellow for yawning yarns, cerise
for sentiment, et cetera.
Well, this week's allotment brings
a red bock and a green. The former
vu J. P. MeEvoy's Denny and the
Dumb Cluck.“ The latter is Arthur
Schnitzlon +Casanova's Homecoming.“
EVBy stilf finds the heart¬
throb racket,“ that is to say, the greet¬
ing-card industry, fert'le soll for semi¬
sutircal, violent burlesque. His pres¬
ent book is tle story of Denny, the
Heart-throb racketeer, and Doris, that
du.sb cluck who was not too dumb to
land the redoubtable Denny, idol of
the lady buyers.
Mr. Meuvoy's story Is told in a se¬
#ries of lôtters, heart messages, verses
by the company's poet laureate, wise¬
cracks and asides. It reads as if a good
deal of it was distated but not read.
he book ie American in the same
way that chewing gum, comic supple¬
ments and loud speakers are Amerl¬
can. It
violent, noisy book de¬
Imanding of the reader not so much in¬
telllgence as u cast-iron stomach, an
extraordinary sense cf humor and an
absolute lack of nerves.
Schnitcler's" Casanova's Homecom¬
ing“ war the first published in this
country by Thomas Seltzer, some nine
years ago. It relates an lmaginary ad¬
venture of the senescent rake, llar
and scoundrel and presents the pathos
inherent in the situation of an old
man of unquenchable ardor whose at¬
Itentlons are tolerated with contempt
Iby youth, when persistence does not
make thein actually revolting.
Schnitzler's nov“l has the tone of
the eighteenth century memolre and
Is written with thät elegant simplictty
of his best manner. It does not rival
in achlevement the best of his short
störles and one-act plays; nche of his
longer works does; büt 1
a fine
Istory, beautifully done and genuinely
box 4/11
Buffalo M# #
Casanova s Homecomung,
Rare Study of Villainy
Defeat of Arch-Scoundrel by Old-Age Furmshes Theine
of, Schnitzler’s Strong Novel
A LTHOUGH Arthur Schnitzler's far-famed novel, Casanova's Home¬
∆A coming,“ made its first appearance in 1918, the version of it in English
hitherto has been known only to a limited circle of the American reading
public. The publication by Simon and Schuster, of the translatien from
the German by Eden and Cedar Paul, is therefore to all intents and purposes
the ssuance of a new work.

The book is included in the Inner
Sanctum series of fiction, and is a
distinguished accession to it. Like
its companion volumes, Casanova's
Homecoming,“ is priced 81.
Casanova’s Homecoming’ is an al¬
luring title. The cholce of a fictional
motif derived from Casanova's re¬
turn to Venice as an aging man, is a
conspicuous instance of Schnitzlerian
subtlety. Any writer of a novel based
on Casanova's life labors under the
handicapping fact that what really
happened to Casanova is stranger
than the wildest romance. It would
be impossibie to imagine a more in¬
credible adventure than what actual¬
ly befell Casanova in his escape from
the prison of the“Leads“ in Venice.
ISELY, and with a consumimate
VV sense of what ls admissible in art,
Schnitzler has not tried to embellish
listory. By the same token, he has
not sought to usurp history’s throne
or to invade her realm.
The Casanova who holds the center
Schnitzler’s stage is not the
dazzling adventurer who bewildered
Europe with his mingled villainy and
No, the homecoming Casanova ol
Schntzler long since has shot earth¬
ward from his zenith. He is 53 years
old. He fully realizes his decline.
But none the less fiercely he revolts
against it. At 53 Casanova is yet a
sccundrel, a desperado, a cutthroat—
and a wizard. Power to fascinate is
indeed the dominant fact of Casa¬
nova's personality.
DUTit is fascination without, win¬
1 someness. Fascination that is
snakelike! The legend of the boa¬
constrictor’s jeweled eye, enthralling
the bird, has a human metamorphesis
in the career of Casanova.
Yet Casanova sees, and Schnitzler
makes us see, that Casanova's lure,
tremendous as it 1s, is not infallible.
Especially in a man of 53.
When, by n subterfuge so abomin¬
able that it sounds the uttermost
abyss of infamy, Casanova betrays
Marcolina, and the girl discovers the