The Lonely Way—Intermezzo—Countess Mizzie. Arthur Schnitzler
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of his plays, but I do not regard such a study essential for the purpose. It is my belief that Schnitzler has given himself most fully and most typically in his dramatic authorship, and it is to this side of his creative production I must confine myself here.
"Anatol" is nothing but seven sketches in dramatic form, each sketch picturing a new love affair of the kind supposed to be especially characteristic of Viennese life. The man remains the same in all these light adventures. The woman is always a different one. The story is of the kind always accompanying such circumstances—one of waxing or waning attraction, of suspicion and jealousy, of incrimination and recrimination, of intrigue and counter-intrigue. The atmosphere is realistic, but the actuality implied is sharply limited and largely superficial. There is little attempt at getting down to the roots of things. There is absolutely no tendency or thesis. The story is told for the sake of the story, and its chief redeeming quality lies in the grace and charm and verve with which it is told. These were qualities that immediately won the public's favor when "Anatol" first appeared. And to some extent it must be counted unfortunate that the impression made by those qualities was so deep and so lasting. There has been a strong tendency observable, both within and outside the author's native country, to regard him particularly as the creator of Anatol, and to question, if not to resent, his inevitable and unmistakable growth beyond that pleasing, but not very significant starting point.
And yet his next dramatic production, which was also his first serious effort as a playwright, ought to have proved sufficient warning that he was moved by something more than a desire to amuse. "A Piece of Fiction" (Das Märchen) must be counted a failure and, in some ways, a step backward. But its very failure is a promise of greater things to come. It lacks the grace and facility of "Anatol." Worse still, it lacks the good-humor and subtle irony of those first sketches. Instead it has purpose and a serious outlook on life. The "piece of fiction" refers to the "fallen" woman—to the alleged impossibility for any decent man to give his whole trust to a woman who has once strayed from the straight path. Fedor Denner denounces this attitude in the presence of a young girl who loves him and is loved by him, but who belongs to the category of women under discussion. When he learns her history, he struggles vainly to resist the feelings of distrust and jealousy which he had declared absurd a little while earlier. And the two are forced at last to walk their different ways. Unfortunately the dialogue is heavy and stilted. The play is a tract rather than a piece of art, and the tirades of Fedor are equally unconvincing when he speaks for or against that "fiction" which is killing both his own and the girl's hope of happiness in mutual love. Yet the play marks a step forward in outlook and spirit.
Schnitzler's interest in hypnotism, which had asserted itself in the first scene of "Anatol," appears again in the little verse-play, "Paracelsus," which followed. But this time he used it to more purpose. By the help of it, a woman's innermost soul is laid bare, and some very interesting light is shed on the workings of the human mind in general.
"Amours" (Liebelei) may be regarded as a cross, or a compromise, between "Anatol" and "A Piece of Fiction." The crudeness of speech marking the latter play has given room to a very incisive dialogue, that carries the action forward with unfailing precision. Some of the temporarily dropped charm has been recovered, and the gain in sincerity has been preserved. "Amours" seems to be the first one of a series of plays dealing with the reverse of the gay picture presented in "Anatol." A young man is having a love affair with two women at the same time, one of them married, the other one a young girl with scant knowledge of the world. Yet she knows enough to know what she is doing, and she has sufficient strength of mind to rise above a sense of guilt, though she is more prone to be the victim of fear. Then the married woman's husband challenges the young man, who is killed. And the girl takes her own life, not because her lover is dead, not because of anything she has done, but because his death for the sake of another woman renders her own faith in him meaningless.
"Outside the Game Laws" (Freiwild) is another step ahead—the first play, I think, where the real Arthur Schnitzler, the author of "The Lonely Way" and "Countess Mizzie," reveals himself. It has a thesis, but this is implied rather than obtruded. In style and character-drawing it is realistic in the best sense. It shows already the typical Schnitzlerian tendency of dealing with serious questions—with questions of life and death—in a casual fashion, as if they were but problems of which road to follow or which shop to enter. It has one fault that must appear as such everywhere, namely, a division of purpose. When the play starts, one imagines that those "outside the game laws" are the women of the stage, who are presented as the legitimate prey of any man caring to hunt them. As the play goes on, that starting point is almost lost sight of, and it becomes more and more plain that those "outside the game laws" are sensible, decent men who refuse to submit to the silly dictates of the dueling code. But what I have thus named a fault is mostly theoretical, and does not mar the effective appeal of the play. What must appear as a more serious shortcoming from an American viewpoint is the local nature of the evil attacked, which lessens the universal validity of the work.
"Change Partners!" (Reigen) was produced about the same time as "Outside the Game Laws," but was not printed until 1900, and then only privately. Yet those ten dialogues provoked from the first a storm which seriously threatened Schnitzler's growing reputation and popularity. When Vienna finds a work immoral, one may look for something dreadful. And the work in question attempts a degree of naturalism rarely equaled in France even. Yet those dialogues are anything but immoral in spirit. They introduce ten men and as many women. The man of one scene reappears with a new woman in the next, and then that woman figures as the partner of a new man in the third scene. The story is always the same (except in the final dialogue): desire, satisfaction, indifference. The idea underlying this "ring dance," as the title means literally, is the same one that recurs under a much more attractive aspect in "Countess Mizzie." It is the linking together of the entire social organism by man's natural cravings. And as a document bearing on the psychology of sex "Change Partners!" has not many equals.
In "The Legacy" (Das Vermächtnis) we meet with a forcible presentation and searching discussion of the world's attitude toward those ties that have been established without social sanction. A young man is brought home dying, having been thrown from his horse. He compels his parents to send for his mistress and their little boy, and he hands both over to the care of his family. That is his "legacy." The family tries hard to rise to this unexpected situation and fails miserably—largely, it must be confessed, thanks to the caddish attitude of a self-made physician who wants to marry the dead man's sister. The second act ends with the death of the little boy; the third, with the disappearance and probable suicide of his mother. The dead man's sister cries out: "Everything that was his is sacred to us, but the one living being who meant more to him than all of us is driven out of our home." The one ray of light offered is that the sister sees through the man who has been courting her and sends him packing. It is noticeable in this play, as in others written by Schnitzler, that the attitude of the women is more sensible and tolerant than that of the men.
The physician is one of the few members of that profession whom the author has painted in an unfavorable light. There is hardly one full-length play of his in which at least one representative of the medical profession does not appear. And almost invariably they seem destined to act as the particular mouthpieces of the author. In a play like "The Lonely Way," for instance, the life shown is the life lived by men and women observed by Schnitzler. The opinions expressed are the opinions of that sort of men and women under the given circumstances. The author neither approves nor disapproves when he makes each character speak in accordance with his own nature. But like most creative artists, he has felt the need of stating his own view of the surrounding throng. This he seems usually to do through the mouth of men like Dr. Reumann in the play just mentioned, or Dr. Mauer in "The Vast Country." And the attitude of those men shows a strange mingling of disapproval and forbearance, which undoubtedly comes very near being Schnitzler's own.
The little one-act play "The Life Partner" (Die Gefährtin) is significant mainly as a study for bigger canvases developing the same theme: the veil that hides the true life of man and woman alike from the partner. And the play should really be named "The Life Partner That Was Not." Another one-act play, "The Green Cockatoo," is laid at Paris. Its action takes place on the evening of July 14, 1789—the fall of the Bastille and the birth of the Revolution. It presents