11. Reigen
box 19/1
newspapers as widely divergent in attitude as the
following:
Die Wage (Philip Frey), April 18, 1903;
Floriesdorfer Zeitung, May 23, 1903;
Paris Journal des Debats, May 24, 1903;
Freistadt (M. G. Conrad), June 20, 1903.
In 1904 an endeavor was made, in Berlin, to con¬
fiscate the book. The firm of Karl Knobloch was
brought into court, pleaded not guilty, and after
trial was acquitted (see Course in German Litera¬
ture given in Columbia University, New York City,
1930-1 by Professor Otto P. Schinnerer, the fore¬
most Schnitzler scholar in this country).
Not only was“Reigen' thus sanctioned in book
form, but its presentation on the stage took place
throughout most of Europe. It was first produced
on June 25, 1903, in the Kaimsaal in Munich; and
this was followed by numerous other productions.
There was a grand opening in Berlin in the Kleines
Schauspielhaus on December 23, 1920. Six months
later, in connection with a production in Charlot¬
tenburg, an injunction was sought and granted on
the ground that the play was obscene. The case
occasioned considerable sensation. There was a
speedy trial, during which the following distin¬
guished experts gave testimony for the defense:
Ludwig Fulda, Felix Hollander, Alfred Kerr,
Arthur Floesser and Max Osborn. Among the Ger¬
man University professors who rallied to uphold
the work were George Witkowski and Albert
Koster. Max Hochdorf and Herbert Ihering were
among the well-known dramatic critics who praised
it. This Court may be unfamiliar with all of these
names; but any inquiry among those acquainted
with German literature will indicate that the out¬
standing figures in the cultural life of contemporary