This is a unique collection of seven of Schnitzler's best known plays in a new English translation. They explore love, sexuality, and death in various guises, against the backdrop of turn-of-the-century Viennese decadence. The introduction explores the plays in relation to Schnitzler's life, to the culture of late twentieth-century Vienna, and to Modernism in general. - ;Flirtations * Round Dance * The Green Cockatoo * The Last Masks * Countess Mizzi * The Vast Domain * Professor Bernhardi The playwright Arthur Schnitzler is best known as the chronicler of fin de si--egrave--;cle Viennese decadence. Round Dance, written in the late 1890s, exposes sexual life in Vienna with such witty frankness that it could not be staged until after the First World War, when it provoked a riot in the theatre and a prosecution for indecency. The other plays in this collection explore love, sexuality, and death in various guises, always with a sharp, non-judgemental awareness of the complexity and mystery of the psyche. Acquainted with Freud and his circle, Schnitzler probes beneath the surface of his characters to uncover emotions they barely understand. And in the tragicomedyProfessor Bernhardi, Schnitzler addresses the growing anti-Semitism of the period. - ;Davies's translation once again brings us closer to a masterpiece of modern drama written before the twentieth century had even begun. - Leo A Lensing, TLS
When Marie realises, with horror, that Felix is intent on making her fulfill her rash vow to die with him, she is left with a terrible conundrum: how can she escape with her life without compromising the self-imposed decorum of attending to the wishes of her dying lover? Schnitzler's talent as a dramatist shines through in this engrossing and shocking psychological study set in fin de siecle Vienna.
A hilarious takedown of celebrity and false genius, never before available in the US. An NYRB Classics Original Eduard Saxberger is a quiet man who is getting on in years and has spent the better part of them working at a desk in an office. Once upon a time, however, he published a book of poetry, Wanderings, and one day when he returns from his usual walk he finds a young man waiting for him. “Are you,” he wants to know, “Saxberger the poet?” Is Saxberger Saxberger the poet? Was he ever a poet? A real poet? Saxberger hasn’t written a poem for years, but he begins to frequent the coffee shops of Vienna with his young admirer and his no less admiring circle of friends, and as he does he begins to yearn for a different life from the daily round followed by rounds of drinks and billiards with familiar buddies like Grossinger, the deli owner. And the ardent attentions of Fräulein Gasteiner, the tragedienne, are not entirely unwelcome. The Hope of Young Vienna is how the young artists style themselves, and they are arranging an event that will introduce them to the world. They insist that the distinguished author of Wanderings take part in it as well. Will he write something new for the occasion? Will he at last receive his due? Late Fame, an unpublished novella recently rediscovered in the papers of the great turn-of-the-century Austrian playwright and novelist Arthur Schnitzler, is a bittersweet parable of hope lost and found.
Schnitzler's masterpiece, La Ronde, shows a spectrum of social class from prostitutes to noblemen in a series of drily observed, loveless sexual encounters. Remembered by many as the basis of a famous film in 1950, the real notoriety of La Ronde goes back to 1900 when it was privately printed and subsequently banned. It was not performed until 1920 in Berlin, where anti-Semitic riots broke out, resulting in the arrest and trial of the cast and director, allegedly for obscenity. The controversy continued with David Hare's adaptation, The Blue Room, which starred Nicole Kidman, at the Donmar Warehouse. This translation is by the playwright and critic Frank Marcus, who has also provided a full introduction to Schnitzler's life and work.
A finely drawn portrayal of the disintegration of Austrian liberal society under the impact of nationalism and anti-semitism, The Road into the Open (Der Weg ins Freie, 1908) is a remarkable novel by a major Austrian writer of the early twentieth century. Set in fin-de-siècle Austria—the cafés, salons, and musical concerts frequented by the Viennese elite—Schnitzler's perceptive exploration of the creative process and the private lives and public aspirations of urban Jewish intellectuals ranks with the highest achievements of Karl Kraus and Robert Musil. The novel's central character, Baron Georg von Wergenthin, is a handsome young composer whose troubled relations with women, musical collaborators, and representatives of the old social order make Schnitzler's book a revealing investigation of individual psychology and social allegory. In his comprehensive introduction, Russell Berman situates the book within the literary and political history of Central Europe and analyzes its relation to psychoanalysis, Marxism, musical aesthetics, and the legacy of European modernism.
His yearning for Venice, the city of his birth, grew so intense that, like a wounded bird slowly circling downwards in its death flight, he began to move in ever-narrowing circles." One of Schnitzler’s most poignant evocations of the passing of time and the ironies of sentiment and love, Casanova’s Return to Venice tells the story of an ageing Casanova’s desperate desire to return to the city he truly loves after a life of exile; a desire which is contrasted with his still-libidinous and sensuous – yet weary – pursuit of women, money and prestige.
Casanova was in his fifty-third year. Though no longer driven by the lust of adventure that had spurred him in his youth, he was still hunted athwart the world, hunted now by a restlessness due to the approach of old age. His yearning for Venice, the city of his birth, grew so intense that, like a wounded bird slowly circling downwards in its death flight, he began to move in ever-narrowing circles. Again and again, during the last ten years of his exile, he had implored the Supreme Council for leave to return home. Erstwhile, in the drafting of these petitions—a work in which he was a past master—a defiant, wilful spirit seemed to have guided his pen; at times even he appeared to take a grim delight in his forwardness. But of late his requests had been couched in humble, beseeching words which displayed, ever more plainly, the ache of homesickness and genuine repentance. The sins of his earlier years (the most unpardonable to the Venetian councillors was his free-thinking, not his dissoluteness, or quarrelsomeness, or rather sportive knavery) were by degrees passing into oblivion, and so Casanova had a certain amount of confidence that he would receive a hearing. The history of his marvellous escape from The Leads of Venice, which he had recounted on innumerable occasions at the courts of princes, in the palaces of nobles, at the supper tables of burghers, and in houses of ill fame, was beginning to make people forget any disrepute which had attached to his name. Moreover, in letters to Mantua, where he had been staying for two months, persons of influence had conveyed hope to the adventurer, whose inward and outward lustre were gradually beginning to fade, that ere long there would come a favorable turn in his fortunes.
While staying with her aunt at a fashionable spa, Else receives an unexpected telegram from her mother, begging her to save her father from debtor's jail. The only way out, it seems, is to approach an elderly acquaintance in order to borrow money from him. Through this telegram, Else is forced into the reality of a world entirely at odds with her romantic imagination - with horrific consequences.
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