The Stature of Arthur Schnitzler

THE STATURE OF ARTHUR SCHNITZLER 1 THE EVALUATION OF ARTHUR SCHNITZLER by literary historians represents a case in point for the necessity of re-examining his work from the focal summit of mid-century experiences and insights. Although the Austrian author died three decades ago and his literary stature was established as early as 1910, professors and critics have unceasingly passed judgments upon him that are as contradictory and prejudiced as they are inadequate and unsound. Once overrated and praised to the sky, he is hardly ever mentioned anymore, or, at best, is subjected to standard cliches which, however inappropriate, nobody seems to have reassessed during the last thirty years. To give only a few pertinent examples: Paul Fechter (in the 3rd volume of the famous Vogt-Koch, History of German Literature, 1938) states that "most of his works are today obsolete because his thin vitality was unable to endow his characters with blood: the only creatures with whom he finds some kind of relationship are women." Somebody should have enlightened Fechter that women comprise more than one-half of the world's population and that consequently, even if the critic were right, Schnitzler would not have done so badly; however, one must consider that Fechter had to refrain from any praise in 1938 for the simple reason that Schnitzler was a Jew. Nevertheless, even a recent scholar such as Elise Dosenheimer (Vas deutsche soziale Drama von Lessing bis Sternheim, 1949) does not list Schnitzler's name in the index of her book although the leading dramatist of Vienna 's pre-war society seems to deserve a more rightful place in her study than the Norwegian playwright Ibsen. Finally, benevolent critics of Schnitzler in this country, such as A. W. Porterfield (Stories and Plays by Arthur Schnitzler [New York, 1930]) are also guilty of utter misjudgment when they gloss over everything that seems risque and puzzling in Schnitzler's writings and praise him instead for "paying a splendid tribute to the Austrian troops" in one of his least significant plays. In short: the time is ripe for a new and unbiased look at the Austrian's work from the viewpoint of historical pertinence and aesthetic quality. Seldom has a writer linked himself so closely with one geographical background and spiritual locality as has Arthur Schnitzler. Born in Vienna in 1862, he lived in Vienna, loved in Vienna, practiced medi80 1961 STATURE OF SCHNITZLER 81 cine in Vienna, wrote in Vienna and, finally in 1931, died in Vienna. Son of a well-known Jewish throat specialist whose private practice included many of the leading theatrical and operatic stars of his time, young Schnitzler was soon drawn to the dual world of the stage and of medicine which was to become the center of his life-long interests and endeavors. After graduating from the University of Vienna in 1885, he served internships for several years and finally became attached to his father's clinic where he interested himself mainly in psychiatry and what is today known as parapsychology: hypnosis, neurasthenia, telepathy, the works of Lombroso, Krafft-Ebbing anq the early Freud. Until 1894 he also acted as an editor of a medical journal and made surveys on clinical conditions in larger European cities such as Berlin and London. After the success of his play Lighto '-Looe (Liebelei; 1895) he devoted himself primarily to writing although he never officially abandoned his medical practice. At first very active in literary feuds and movements at the tum of the century , Schnitzler became one of the leaders of the group called "Young Vienna" which stood in marked contrast to the radical Naturalism of Berlin. Together with Hermann Bahr and Hugo von Hofmannsthal he was a protagonist of Austrian Impressionism. Withdrawing more and more into seclusion, he lived a private life which was devoid of all publicity as well as of colorful events. As S. Liptzin reveals (Arthur Schnitzler [Englewood Cliffs, New Jersey, 1932]), Schnitzler resented written references to his personal life and, when once asked for complete biographical data, submitted the following tight-lipped significant sentence: "I was born in 1862 and was a physician." According to his son Heinrich, a dramatics professor in California, there...