4. Anato
# 1
box 7/3
#makes me feel as I’ve never felt be¬
fore. She—-1 can't describe her.“ And¬
Stothis Max cynically replies:N
one never can, till it’s all over.“
Poor weak kneed Anatol has been tak¬
week, one at 9 o’clock and one at 11
GRAHVILLE BARKER‘
o’elock, one with the girl he wants to¬
win and the other with the girl he
A sequence of dialogues py Arthur Schnitzler;
paraphrased fer the English stage by Gran¬
wants to lose. The chorus girl, the
ville Barker. Published by, Mitchell Ken¬
nerly, New Tork. Price 51.9
one he is tired of, arrives and after
some clever conversation tells him that
This serles of dialogues tells of the
she has been taking two suppers each
adventures, or rather the love adven¬
night, but this is the last. She will
tures, of a rich young bachelor of
Vienna by name Anatol. The characters come no more to Anatol for her new
are Anatol, his friend Max and Anatol’s lover Interests her more. Then Anatol
mistress, a different mistress in each makes his belated confession, which of
dialogue, and the adventures are pie- course, is accepted with shrieks of un¬
tured with a cynicism’which is almost believing laughter. Anatol’s chagrin
alluring. The dialogue is as clean and is wall-done.
An Episode“ is the title of another
witty as any thing in Oscar Wilde and
dialogue in which Anatol gets, perhaps,
the author has conçentrated all his
the worst of it. He is such a brag¬
powers of satire upon this one view¬
gart, so lacking in the saving sense of
point of life, or state of existence. The
humor, that we rejoice to see him¬
result is of course that the book is a
humillated. But occasionally the#real.
moral lesson, but never do we see one
man inside shows himself for a mo¬
word of preaching; perhaps after all
the author is an unconsclous moralist, ment. It is in tbis chapter that Ana¬
The first dialogue is ontitled, Ask No tol says: When I was very young in¬
Questions and You'll Hear No Stories,“ deed I saw myself as one of the
world’s greatest heroes of romance.
and contains a large slice of the
These women, I thought, I pluck them,
cynieal wordly wisdom found through¬
out the plays. Anatol tries to find out crush the sweetness from them—it’s
through hypnotism it Hilds is faithful the law of nature—then I throw them
to him and is afrald to ask the ques- aside as I pass on. I know now that
I'm more of a fool than a hero—and
tion when everything is möst favor¬
able. The last cynical sentence, l'm getting most unpleasantly used to
uttered by Max as he goes out leaving knowing it.“
Doctor Schnitzler, who wrote Ana¬
the lovers embracing each other, is
tol,“ bis üirst work, in 1893, is a prac¬
worth remembering: Perhaps you’ve
tieing physician in Vienna. His list
made a seientifle discovery—that
of works, all of them dramatie in form,
women tell lies just as well when
shows him to be à very prolific writer.
they're asleep. But so long as youre He is now 49 years of age.
happy what’s the odds?“
As so the translation of this work,
the publishers have sent out the fol¬
The talk betweer Max and Anatol is
lowingeitem about him:
üilled with quotable little bits. In this
H. Granville Barker, whose para¬
same dialogue they discuss the differ¬
phrase of Anatol“ by Arthur Schnitz¬
ence between men and women and this
ler has Just been published by Mitchell
Kennerley, was born In London, 1877.
lovely passage gecurs:
and made his first appearance on the
Max—My dear Anatol, if she really
stage at Harrogate, being at that time
loves you
14 years of age. For six months he
played with Miss Sarah Thorne’s com¬
Anatol—0h, Innocent! Task you
pany, his flrat. London engagement be¬
wiat has that to do with it?
walking gentleman“ under
Ing as
Max—A great deal, I should hope.
Charles Hawtrey. After playing in A.
Anatol—Then why am I not true to
B. Tapping’s stock company at Hastings
he toured with Ben Greet’s Shakespeare
her? I really love her, don't 17
contingent and appeared in Richard
Max—You're a man.
II.
under the Elizabethan Stage so¬
#Anatol—Thank youit only ciety. After touring with Mrs. Patrick
needed that! Of course
we Campbell and performing in costume
are men and women are different. Plays, he became assoclated with Ber¬
nard Shaw through their mutual con¬
Some! If their mammas lock them up, nection with the Incorporated Stage so¬
or if theyre little fishes. Otherwise, clety. Indeed, it was his “production“
my dear Max, women and men are very and stage management of the Shaw
plays that made his reputation. He de¬
much allke especially women.
votes as much care and skill to a com¬
And if 1 swear to one of them thät monplace ’setting“ as
does Gordon
she’s the only woman I love is that Craig to one of intrinsle beauty. And
The Marry¬
Just because the in his own plays, such as
lying to her*
Ing of Ann Leete,
The Voysey Inheri.
night before I’ve been saying,the same
tance“ and
he Madras House“ this
thingto another?“
care for the unbeautiful is raised tothe
level of a cult. To the triple identities
of actor, author and producèr he has
added that of manager, 'being assoclated
with J. E. Vedrenne in the famous
Vedrenne-Barker matihees, and after¬
ward in the successful repertorhe sea¬
sons at the court. Together with Wil¬
liam Archer, he'published a book on A
National Theater’ which is the ground¬
work upon which the proposed London
Memorial theater is to be ralsed. In
1906 he married Miss Lillah McCarthy,
one of the finest of modern actresses.“
In addition it may be said that thi
wors. has great literary merit and that
only its subject matter shows the for¬
eign mark. The translator has doubt¬
less softened many of the passages for
his English and -American audiences,
Cas
but the work has been done in à flaw¬
DUh
less manner, It makes one of the most
ARTNUR GENNITZLER
interesting publicctions of the season.
# 1
box 7/3
#makes me feel as I’ve never felt be¬
fore. She—-1 can't describe her.“ And¬
Stothis Max cynically replies:N
one never can, till it’s all over.“
Poor weak kneed Anatol has been tak¬
week, one at 9 o’clock and one at 11
GRAHVILLE BARKER‘
o’elock, one with the girl he wants to¬
win and the other with the girl he
A sequence of dialogues py Arthur Schnitzler;
paraphrased fer the English stage by Gran¬
wants to lose. The chorus girl, the
ville Barker. Published by, Mitchell Ken¬
nerly, New Tork. Price 51.9
one he is tired of, arrives and after
some clever conversation tells him that
This serles of dialogues tells of the
she has been taking two suppers each
adventures, or rather the love adven¬
night, but this is the last. She will
tures, of a rich young bachelor of
Vienna by name Anatol. The characters come no more to Anatol for her new
are Anatol, his friend Max and Anatol’s lover Interests her more. Then Anatol
mistress, a different mistress in each makes his belated confession, which of
dialogue, and the adventures are pie- course, is accepted with shrieks of un¬
tured with a cynicism’which is almost believing laughter. Anatol’s chagrin
alluring. The dialogue is as clean and is wall-done.
An Episode“ is the title of another
witty as any thing in Oscar Wilde and
dialogue in which Anatol gets, perhaps,
the author has conçentrated all his
the worst of it. He is such a brag¬
powers of satire upon this one view¬
gart, so lacking in the saving sense of
point of life, or state of existence. The
humor, that we rejoice to see him¬
result is of course that the book is a
humillated. But occasionally the#real.
moral lesson, but never do we see one
man inside shows himself for a mo¬
word of preaching; perhaps after all
the author is an unconsclous moralist, ment. It is in tbis chapter that Ana¬
The first dialogue is ontitled, Ask No tol says: When I was very young in¬
Questions and You'll Hear No Stories,“ deed I saw myself as one of the
world’s greatest heroes of romance.
and contains a large slice of the
These women, I thought, I pluck them,
cynieal wordly wisdom found through¬
out the plays. Anatol tries to find out crush the sweetness from them—it’s
through hypnotism it Hilds is faithful the law of nature—then I throw them
to him and is afrald to ask the ques- aside as I pass on. I know now that
I'm more of a fool than a hero—and
tion when everything is möst favor¬
able. The last cynical sentence, l'm getting most unpleasantly used to
uttered by Max as he goes out leaving knowing it.“
Doctor Schnitzler, who wrote Ana¬
the lovers embracing each other, is
tol,“ bis üirst work, in 1893, is a prac¬
worth remembering: Perhaps you’ve
tieing physician in Vienna. His list
made a seientifle discovery—that
of works, all of them dramatie in form,
women tell lies just as well when
shows him to be à very prolific writer.
they're asleep. But so long as youre He is now 49 years of age.
happy what’s the odds?“
As so the translation of this work,
the publishers have sent out the fol¬
The talk betweer Max and Anatol is
lowingeitem about him:
üilled with quotable little bits. In this
H. Granville Barker, whose para¬
same dialogue they discuss the differ¬
phrase of Anatol“ by Arthur Schnitz¬
ence between men and women and this
ler has Just been published by Mitchell
Kennerley, was born In London, 1877.
lovely passage gecurs:
and made his first appearance on the
Max—My dear Anatol, if she really
stage at Harrogate, being at that time
loves you
14 years of age. For six months he
played with Miss Sarah Thorne’s com¬
Anatol—0h, Innocent! Task you
pany, his flrat. London engagement be¬
wiat has that to do with it?
walking gentleman“ under
Ing as
Max—A great deal, I should hope.
Charles Hawtrey. After playing in A.
Anatol—Then why am I not true to
B. Tapping’s stock company at Hastings
he toured with Ben Greet’s Shakespeare
her? I really love her, don't 17
contingent and appeared in Richard
Max—You're a man.
II.
under the Elizabethan Stage so¬
#Anatol—Thank youit only ciety. After touring with Mrs. Patrick
needed that! Of course
we Campbell and performing in costume
are men and women are different. Plays, he became assoclated with Ber¬
nard Shaw through their mutual con¬
Some! If their mammas lock them up, nection with the Incorporated Stage so¬
or if theyre little fishes. Otherwise, clety. Indeed, it was his “production“
my dear Max, women and men are very and stage management of the Shaw
plays that made his reputation. He de¬
much allke especially women.
votes as much care and skill to a com¬
And if 1 swear to one of them thät monplace ’setting“ as
does Gordon
she’s the only woman I love is that Craig to one of intrinsle beauty. And
The Marry¬
Just because the in his own plays, such as
lying to her*
Ing of Ann Leete,
The Voysey Inheri.
night before I’ve been saying,the same
tance“ and
he Madras House“ this
thingto another?“
care for the unbeautiful is raised tothe
level of a cult. To the triple identities
of actor, author and producèr he has
added that of manager, 'being assoclated
with J. E. Vedrenne in the famous
Vedrenne-Barker matihees, and after¬
ward in the successful repertorhe sea¬
sons at the court. Together with Wil¬
liam Archer, he'published a book on A
National Theater’ which is the ground¬
work upon which the proposed London
Memorial theater is to be ralsed. In
1906 he married Miss Lillah McCarthy,
one of the finest of modern actresses.“
In addition it may be said that thi
wors. has great literary merit and that
only its subject matter shows the for¬
eign mark. The translator has doubt¬
less softened many of the passages for
his English and -American audiences,
Cas
but the work has been done in à flaw¬
DUh
less manner, It makes one of the most
ARTNUR GENNITZLER
interesting publicctions of the season.