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Selected Short Fiction
Arthur Schnitzler is best known for his plays, such as La Ronde and The Game of Love, but his short fiction, in which the pulse of early twentieth-century Vienna can be felt as in no other writer, is no less masterly. Characteristic of this observer of the late Habsburg world of balls, adultery and duels is an ironic, bitter-sweet tone reminiscent of another doctor-turned-writer, Anton Chekhov. Schnitzler’s intuitive understanding of the human psyche was much admired by his contemporary Sigmund Freud, and the primary focus of his stories is on the volatile, turbulent inner lives of his characters as revealed in dreams, unconscious sexual impulses, and psychopathic states. This volume containing thirteen stories provides the balanced selection of Schnitzler’s short fiction that has long been needed. It ranges from short comic tales to dense novellas such as Lieutenant Gustl, Fräulein Else, and the superbly atmospheric late, dramatic tale of love and sudden death The Duellist’s Second. Some narratives – as told, for instance, by a deluded bank clerk, or the jealous admirer of another man’s wife – are distinctly ambivalent in implication; others feature characters in threshold situations which force them to reappraise their entire lives.
These stories, a number of them translated into English for the first time, brilliantly display the social and psychological awareness of their author, whom today’s reader is likely to find distinctly modern.
Contents: His Royal Highness is in the House; Flowers; The Wise Man's Wife; Dead Men Tell No Tales; Lieutenant Gustl; Andreas Thameyer's Farewell Letter; Success; The Green Cravat; An Eccentric; The Grecian Dancer; The Prophecy; Fräulein Else; The Duellist's Second.
These stories, a number of them translated into English for the first time, brilliantly display the social and psychological awareness of their author, whom today’s reader is likely to find distinctly modern.
Contents: His Royal Highness is in the House; Flowers; The Wise Man's Wife; Dead Men Tell No Tales; Lieutenant Gustl; Andreas Thameyer's Farewell Letter; Success; The Green Cravat; An Eccentric; The Grecian Dancer; The Prophecy; Fräulein Else; The Duellist's Second.
- Genres20th Century
220 pages, Paperback
First published January 1, 1999
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30 people want to read
About the author
Arthur Schnitzler
1,023 books543 followersArthur Schnitzler was an Austrian author and dramatist.
The son of a prominent Hungarian-Jewish laryngologist Johann Schnitzler and Luise Markbreiter (a daughter of the Viennese doctor Philipp Markbreiter), was born in Vienna in the Austro-Hungarian Empire, and began studying medicine at the local university in 1879. He received his doctorate of medicine in 1885 and worked at the Vienna's General Hospital, but ultimately abandoned medicine in favour of writing.
His works were often controversial, both for their frank description of sexuality (Sigmund Freud, in a letter to Schnitzler, confessed "I have gained the impression that you have learned through intuition — though actually as a result of sensitive introspection — everything that I have had to unearth by laborious work on other persons")[1] and for their strong stand against anti-Semitism, represented by works such as his play Professor Bernhardi and the novel Der Weg ins Freie. However, though Schnitzler was himself Jewish, Professor Bernhardi and Fräulein Else are among the few clearly-identified Jewish protagonists in his work.
Schnitzler was branded as a pornographer after the release of his play Reigen, in which ten pairs of characters are shown before and after the sexual act, leading and ending with a prostitute. The furore after this play was couched in the strongest anti-semitic terms;[2] his works would later be cited as "Jewish filth" by Adolf Hitler. Reigen was made into a French language film in 1950 by the German-born director Max Ophüls as La Ronde. The film achieved considerable success in the English-speaking world, with the result that Schnitzler's play is better known there under Ophüls' French title.
In the novella, Fräulein Else (1924), Schnitzler may be rebutting a contentious critique of the Jewish character by Otto Weininger (1903) by positioning the sexuality of the young female Jewish protagonist.[3] The story, a first-person stream of consciousness narrative by a young aristocratic woman, reveals a moral dilemma that ends in tragedy.
In response to an interviewer who asked Schnitzler what he thought about the critical view that his works all seemed to treat the same subjects, he replied, "I write of love and death. What other subjects are there?" Despite his seriousness of purpose, Schnitzler frequently approaches the bedroom farce in his plays (and had an affair with one of his actresses, Adele Sandrock). Professor Bernhardi, a play about a Jewish doctor who turns away a Catholic priest in order to spare a patient the realization that she is on the point of death, is his only major dramatic work without a sexual theme.
A member of the avant-garde group Young Vienna (Jung Wien), Schnitzler toyed with formal as well as social conventions. With his 1900 short story Lieutenant Gustl, he was the first to write German fiction in stream-of-consciousness narration. The story is an unflattering portrait of its protagonist and of the army's obsessive code of formal honour. It caused Schnitzler to be stripped of his commission as a reserve officer in the medical corps — something that should be seen against the rising tide of anti-semitism of the time.
He specialized in shorter works like novellas and one-act plays. And in his short stories like "The Green Tie" ("Die grüne Krawatte") he showed himself to be one of the early masters of microfiction. However he also wrote two full-length novels: Der Weg ins Freie about a talented but not very motivated young composer, a brilliant description of a segment of pre-World War I Viennese society; and the artistically less satisfactory Therese.
In addition to his plays and fiction, Schnitzler meticulously kept a diary from the age of 17 until two days before his death, of a brain hemorrhage in Vienna. The manuscript, which runs to almost 8,000 pages, is most notable for Schnitzler's cas
The son of a prominent Hungarian-Jewish laryngologist Johann Schnitzler and Luise Markbreiter (a daughter of the Viennese doctor Philipp Markbreiter), was born in Vienna in the Austro-Hungarian Empire, and began studying medicine at the local university in 1879. He received his doctorate of medicine in 1885 and worked at the Vienna's General Hospital, but ultimately abandoned medicine in favour of writing.
His works were often controversial, both for their frank description of sexuality (Sigmund Freud, in a letter to Schnitzler, confessed "I have gained the impression that you have learned through intuition — though actually as a result of sensitive introspection — everything that I have had to unearth by laborious work on other persons")[1] and for their strong stand against anti-Semitism, represented by works such as his play Professor Bernhardi and the novel Der Weg ins Freie. However, though Schnitzler was himself Jewish, Professor Bernhardi and Fräulein Else are among the few clearly-identified Jewish protagonists in his work.
Schnitzler was branded as a pornographer after the release of his play Reigen, in which ten pairs of characters are shown before and after the sexual act, leading and ending with a prostitute. The furore after this play was couched in the strongest anti-semitic terms;[2] his works would later be cited as "Jewish filth" by Adolf Hitler. Reigen was made into a French language film in 1950 by the German-born director Max Ophüls as La Ronde. The film achieved considerable success in the English-speaking world, with the result that Schnitzler's play is better known there under Ophüls' French title.
In the novella, Fräulein Else (1924), Schnitzler may be rebutting a contentious critique of the Jewish character by Otto Weininger (1903) by positioning the sexuality of the young female Jewish protagonist.[3] The story, a first-person stream of consciousness narrative by a young aristocratic woman, reveals a moral dilemma that ends in tragedy.
In response to an interviewer who asked Schnitzler what he thought about the critical view that his works all seemed to treat the same subjects, he replied, "I write of love and death. What other subjects are there?" Despite his seriousness of purpose, Schnitzler frequently approaches the bedroom farce in his plays (and had an affair with one of his actresses, Adele Sandrock). Professor Bernhardi, a play about a Jewish doctor who turns away a Catholic priest in order to spare a patient the realization that she is on the point of death, is his only major dramatic work without a sexual theme.
A member of the avant-garde group Young Vienna (Jung Wien), Schnitzler toyed with formal as well as social conventions. With his 1900 short story Lieutenant Gustl, he was the first to write German fiction in stream-of-consciousness narration. The story is an unflattering portrait of its protagonist and of the army's obsessive code of formal honour. It caused Schnitzler to be stripped of his commission as a reserve officer in the medical corps — something that should be seen against the rising tide of anti-semitism of the time.
He specialized in shorter works like novellas and one-act plays. And in his short stories like "The Green Tie" ("Die grüne Krawatte") he showed himself to be one of the early masters of microfiction. However he also wrote two full-length novels: Der Weg ins Freie about a talented but not very motivated young composer, a brilliant description of a segment of pre-World War I Viennese society; and the artistically less satisfactory Therese.
In addition to his plays and fiction, Schnitzler meticulously kept a diary from the age of 17 until two days before his death, of a brain hemorrhage in Vienna. The manuscript, which runs to almost 8,000 pages, is most notable for Schnitzler's cas
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Displaying 1 - 2 of 2 reviews
February 3, 2012
A gorgeous collection of stories rendered with nostalgic melancholy yet compassionate awareness of the fragility of life and love in fin-de-siecle Vienna: the golden age of confluence of centuries of European cultural erudition.
The psychological power and gossamer subtlety of Schnitzler’s vision is a product of introspective qualia, and his experiments with associative interior evocations precedes the surrealistic coterie of writers by a tleast two generations. ‘ Lieutenant Gustl ‘ is a sublime example of discursive interior monologue signified through heteroglossia: an evanescently orchestrated descent into madness, redeemed through a jejune moment. The lieutenant’s imagined nemesis dies of a stroke, and psychological order is restored.
This restorative quality which Schnitzler grants his protagonists stands him in sharp contrast to the complete and full psychological alienation administered by subsequent German writers, (most notably Kafka). If this is so, its because Schnitzler’s characters remain anchored in the context of social reality. The pulse of Viennese spiritual life, its recurrent memes and cultural idiosyncrasies inform the psychological introspection of even the most dream like, effervescent personas (as in the Wise Man’s Wife).
Schnitzler’s stories are invariably symphonic variations on a theme: the depth and complexity of the human heart and soul. Yet each beautifully evocative story renders this anew in a marvellously atmospheric séance of psychological and social awareness.
Plus, I am enriching my vocabulary with the following splendid word: satisfaktionsunfahig. I shall be using it indiscriminately going forward.
The psychological power and gossamer subtlety of Schnitzler’s vision is a product of introspective qualia, and his experiments with associative interior evocations precedes the surrealistic coterie of writers by a tleast two generations. ‘ Lieutenant Gustl ‘ is a sublime example of discursive interior monologue signified through heteroglossia: an evanescently orchestrated descent into madness, redeemed through a jejune moment. The lieutenant’s imagined nemesis dies of a stroke, and psychological order is restored.
This restorative quality which Schnitzler grants his protagonists stands him in sharp contrast to the complete and full psychological alienation administered by subsequent German writers, (most notably Kafka). If this is so, its because Schnitzler’s characters remain anchored in the context of social reality. The pulse of Viennese spiritual life, its recurrent memes and cultural idiosyncrasies inform the psychological introspection of even the most dream like, effervescent personas (as in the Wise Man’s Wife).
Schnitzler’s stories are invariably symphonic variations on a theme: the depth and complexity of the human heart and soul. Yet each beautifully evocative story renders this anew in a marvellously atmospheric séance of psychological and social awareness.
Plus, I am enriching my vocabulary with the following splendid word: satisfaktionsunfahig. I shall be using it indiscriminately going forward.
April 12, 2018
Superb.
Displaying 1 - 2 of 2 reviews