2. Guttings
box 37/7
Tun TEXAS RuviEw
298
is, indeed, very probable that Schnitzler first became inter¬
ested in the relation of the two sexes and in the psy¬
chology of sex, which topics are predominant in his literary
work, as scientific subjects related to his profession. There
is no doubt, of course, that Schnitzler knew and loved the
Bohemian life of his native city. But, at the same time,
there are innumerable indications in his works that his
interest in this subject of the sex relation was partly a result
of his scientific training. Even in his most convincing crea¬
tions, we cannot rid ourselves of the impression that the
author is playing the röle of diagnostician, and is only desirous
of investigating with the physician's eye the aberrations and
reactions of the human organism. Reigen, for instance, is
a frank, open, and very naturalistic study in the psychology
of sex, and as such Edwin Bjorkman has said “it has not
many cquals“. I do not think that we are justified in stress¬
ing this scientific aspect of Schnitzler’s work tothe exclusion
of all others,—I do not think that the tendency on the part
of some crities to regard him as a sort of Freud afflicted with
the artistic impulse is indicative of sound literary judgment;
but, at the same time, the student of Schnitzler cannot afford
toignore this scientific interest in the sexual nature which was
undoubtedly very strong in Schnitzler’s mind.
Another aspect of his work which may be traced to his
experiences as a physician is his preoccupation with the theme
of death. There is an underlying note of melancholy, a sort
of brooding sadness, running through all of Schnitzler’s
works which must be due, in a measure, to his ever-present
consciousness of the transiency of this life and of the threat¬
ening death that hovers over every human being. How the
native melancholy of his sensitive soul must have been de¬
pressed by the endless, weary nicht in the sick-room, the babe
breathing out its last feeble gasp on his breast, and the
pitiableness of withered age closing its feverish eyes in the
last sleep! Like Andreyev and Dostoievsky, Schnitzler finds
himseif again and again in contemplation of the mystery of
dissolution, staring fixedly at the black hood of Death, at¬
box 37/7
Tun TEXAS RuviEw
298
is, indeed, very probable that Schnitzler first became inter¬
ested in the relation of the two sexes and in the psy¬
chology of sex, which topics are predominant in his literary
work, as scientific subjects related to his profession. There
is no doubt, of course, that Schnitzler knew and loved the
Bohemian life of his native city. But, at the same time,
there are innumerable indications in his works that his
interest in this subject of the sex relation was partly a result
of his scientific training. Even in his most convincing crea¬
tions, we cannot rid ourselves of the impression that the
author is playing the röle of diagnostician, and is only desirous
of investigating with the physician's eye the aberrations and
reactions of the human organism. Reigen, for instance, is
a frank, open, and very naturalistic study in the psychology
of sex, and as such Edwin Bjorkman has said “it has not
many cquals“. I do not think that we are justified in stress¬
ing this scientific aspect of Schnitzler’s work tothe exclusion
of all others,—I do not think that the tendency on the part
of some crities to regard him as a sort of Freud afflicted with
the artistic impulse is indicative of sound literary judgment;
but, at the same time, the student of Schnitzler cannot afford
toignore this scientific interest in the sexual nature which was
undoubtedly very strong in Schnitzler’s mind.
Another aspect of his work which may be traced to his
experiences as a physician is his preoccupation with the theme
of death. There is an underlying note of melancholy, a sort
of brooding sadness, running through all of Schnitzler’s
works which must be due, in a measure, to his ever-present
consciousness of the transiency of this life and of the threat¬
ening death that hovers over every human being. How the
native melancholy of his sensitive soul must have been de¬
pressed by the endless, weary nicht in the sick-room, the babe
breathing out its last feeble gasp on his breast, and the
pitiableness of withered age closing its feverish eyes in the
last sleep! Like Andreyev and Dostoievsky, Schnitzler finds
himseif again and again in contemplation of the mystery of
dissolution, staring fixedly at the black hood of Death, at¬