1
6
18. Derein
box 23/2
Telephon 12801.
Alex. Weigls Unternehmen für Zeitungs-Ausschnitte
„UBSERVER“
Cösterr. behördl. konz. Bureau für Zeitungsberichte u. Personalnachrichten
Wien, I., Concordiaplatz 4.
Vertretungen
in Berlin, Budapest, Chicago, Genf, London, New-York,
Paris, Rom, Mailand, Stockholm, Christiania, St. Petersburg.
(Quellenangabe ohne Gewähr.)
18
Ausschnitt aus:
ihe Times, Londen
vom: 72.
K
S0ME RECENT GERMAN LITERATURE.
DER EINSAME Wro. By A. Scnnirzunn. (Fischer Berlin,
2m.)
Drn Mzisren. By H. Bann. (Fischer, Berlin, 2m.)
Drazoc von Taaoisenzy. By H. Bann. (Fischer, Berlin, 2m.)
Das Hzimarsrtsr. By G. Fnnnssen. (Grote, Berlin, 2m.)
WAnkuEfr. By F. O. Brrsz. (G. Schuhr, Berlin, 3m.)
DER PrARRER von BazirENpokr. By W. v. POLENZ.
(Fontane, Berlin, 2 vols., 8m.)
Das ScnnarEynz Harn. By C. Virnia. (E. Fleischel,
Berlin, 6m.)
HERMANN OSLEB. By G. O. Kxoor. (E. Fleischel, Berlin,
3m. 50p.)
Pending the renaissance of the English theatre,
enthusiasts in London might well turn their attention to thé
literary drama of Vienna. Dr. Arthur Schnitzler, its prinel¬
pal exponent, is a writer to whom the questionof“ State-ald!
Is of less moment thau the attainment of an artistio
purpose. That he can deal with the stage in the conventional
—i.c., the French—manner is sufflciently proved by his
briiliant one-act plays, such as Der grüne Kakadu, orthe
later Lebendige Stunden, If he neglects the rules, as some
indigenous critics complain, in longer pieces, it is because
of a deliberate search for more adequate modes of expression.
The persons in his latest play, Der einsame Weg, speak a
Schnitzler dialect, revealing themselves in finely chiselled
quotable language, like the people in Shakespeare, or Molière,
or Euripides. The wise, before they censure, will ask“ What
does the author intend?“ He is obviously no realist in the
vulgar sense. His personages describe their emotions to
each other in whole pages of print, whereas introspective
persons in actual life for the most part carry on self-analysis
within their own bosoms—and hence the soliloquy is,
realism for realism, a better convention than the confidences
of a man to“ Charles, his friend.“ Moreover, the action in
Der einsame Weg amounts to little more than a passive auffer¬
ance of the consequences of past conduct. It is a panorama,
in which flgures move across the stage, but do not meet and
clash. The title of the play doubtless gives the key tothe
idea. The author means to give a picture of solitary lives,
and the very lack of action gives emphasis to the solitude.
In a desert, to meet and fight were better than not to meet.
It matters not then that we catch only a glimpse of certain
of the characters as they pass. A too clear definition might
destroy the effect.
Of the two principal persons, both pleasure-seekers
(“ Geniesslinge*'), the one, Julian Fichtner, seeks sensa¬
tion for its own sake, the other, Stephan von Sala, in
order to turn it to artistic account. Both find them¬
selves in middle life on a lonely road (der einsame Weg),
and fain to feed on husks. Julian reveals the secret of his
illegitimate paternity to Felix, the reputed son of Professor
Wegrath, in the hope that he may have a son’s affection to
cheer his declining years. But the young man is deaf to the
appeal of“ blood' relationship. He acknowledges a debt not
to the parent to whom he owes merely his being, but to
Wegrath, who has given him a father’s care and affection all
his life. His eister Johanna, on the other hand, turns from
6
18. Derein
box 23/2
Telephon 12801.
Alex. Weigls Unternehmen für Zeitungs-Ausschnitte
„UBSERVER“
Cösterr. behördl. konz. Bureau für Zeitungsberichte u. Personalnachrichten
Wien, I., Concordiaplatz 4.
Vertretungen
in Berlin, Budapest, Chicago, Genf, London, New-York,
Paris, Rom, Mailand, Stockholm, Christiania, St. Petersburg.
(Quellenangabe ohne Gewähr.)
18
Ausschnitt aus:
ihe Times, Londen
vom: 72.
K
S0ME RECENT GERMAN LITERATURE.
DER EINSAME Wro. By A. Scnnirzunn. (Fischer Berlin,
2m.)
Drn Mzisren. By H. Bann. (Fischer, Berlin, 2m.)
Drazoc von Taaoisenzy. By H. Bann. (Fischer, Berlin, 2m.)
Das Hzimarsrtsr. By G. Fnnnssen. (Grote, Berlin, 2m.)
WAnkuEfr. By F. O. Brrsz. (G. Schuhr, Berlin, 3m.)
DER PrARRER von BazirENpokr. By W. v. POLENZ.
(Fontane, Berlin, 2 vols., 8m.)
Das ScnnarEynz Harn. By C. Virnia. (E. Fleischel,
Berlin, 6m.)
HERMANN OSLEB. By G. O. Kxoor. (E. Fleischel, Berlin,
3m. 50p.)
Pending the renaissance of the English theatre,
enthusiasts in London might well turn their attention to thé
literary drama of Vienna. Dr. Arthur Schnitzler, its prinel¬
pal exponent, is a writer to whom the questionof“ State-ald!
Is of less moment thau the attainment of an artistio
purpose. That he can deal with the stage in the conventional
—i.c., the French—manner is sufflciently proved by his
briiliant one-act plays, such as Der grüne Kakadu, orthe
later Lebendige Stunden, If he neglects the rules, as some
indigenous critics complain, in longer pieces, it is because
of a deliberate search for more adequate modes of expression.
The persons in his latest play, Der einsame Weg, speak a
Schnitzler dialect, revealing themselves in finely chiselled
quotable language, like the people in Shakespeare, or Molière,
or Euripides. The wise, before they censure, will ask“ What
does the author intend?“ He is obviously no realist in the
vulgar sense. His personages describe their emotions to
each other in whole pages of print, whereas introspective
persons in actual life for the most part carry on self-analysis
within their own bosoms—and hence the soliloquy is,
realism for realism, a better convention than the confidences
of a man to“ Charles, his friend.“ Moreover, the action in
Der einsame Weg amounts to little more than a passive auffer¬
ance of the consequences of past conduct. It is a panorama,
in which flgures move across the stage, but do not meet and
clash. The title of the play doubtless gives the key tothe
idea. The author means to give a picture of solitary lives,
and the very lack of action gives emphasis to the solitude.
In a desert, to meet and fight were better than not to meet.
It matters not then that we catch only a glimpse of certain
of the characters as they pass. A too clear definition might
destroy the effect.
Of the two principal persons, both pleasure-seekers
(“ Geniesslinge*'), the one, Julian Fichtner, seeks sensa¬
tion for its own sake, the other, Stephan von Sala, in
order to turn it to artistic account. Both find them¬
selves in middle life on a lonely road (der einsame Weg),
and fain to feed on husks. Julian reveals the secret of his
illegitimate paternity to Felix, the reputed son of Professor
Wegrath, in the hope that he may have a son’s affection to
cheer his declining years. But the young man is deaf to the
appeal of“ blood' relationship. He acknowledges a debt not
to the parent to whom he owes merely his being, but to
Wegrath, who has given him a father’s care and affection all
his life. His eister Johanna, on the other hand, turns from