12.
„ „
[illegible]
say. "Die Kritik ist wetterwendisch.“ No sooner had Schnizler
attained the heights ofontical commendation when he woud again
plunge into the depths ofontical displeasure. Despite this ebb
and flow of criticism Schnitzler remained unmoved, published the
Works that interested him, alightly pleased if the public approved,
but not pert asrbed if the public lhook its head.
The drame that stamped Arthur Schnitzler an artist and put
him on the Comrs. st the Burgtheater, one of the mostommatie
theatres in Europe in the '90's, was, strangely enough, discussed
in only three periodicals in Berlin. Schnitzler was a young man,
an Austrian, and his Liebelei was far from home when it played in
Berlin, yet the calibre of the men who reviewed this play was very
high. Paul Schlenther thought that the drama wed its success to
its subject matter, because "a hisserl Lieb und a bisserl Treu und
a bisserl Falschheit is alleweil dabei.“ (42) Oskar Bie, the editor
of Die Neue Deutsche Rundschau was more enthusiastic. He called
Liebelei "wirkliche Dichtung, die aus dem Herzen Fliesst. Hier
gibt sich ein Dichter ganz und gar." (43) In general theoritics
agreed that Liebelei was the first Hlowering of a latent dramatio
talent.
Fickle, indeed, areoritios. With but few exceptions those wh¬
landed Liebelei condenned Freiwild. Oskar Bie said: Der Drama-
tiker in ihm suchte und er hat den Dichter ertränkt.“ (44) This
42. Preussische Jahrbücher, LXXIV, 493, September 1895.
43. Kunstwert, IX. 168, March 1896.
44. Kunstwart. X. 58. November 1896.
„ „
[illegible]
say. "Die Kritik ist wetterwendisch.“ No sooner had Schnizler
attained the heights ofontical commendation when he woud again
plunge into the depths ofontical displeasure. Despite this ebb
and flow of criticism Schnitzler remained unmoved, published the
Works that interested him, alightly pleased if the public approved,
but not pert asrbed if the public lhook its head.
The drame that stamped Arthur Schnitzler an artist and put
him on the Comrs. st the Burgtheater, one of the mostommatie
theatres in Europe in the '90's, was, strangely enough, discussed
in only three periodicals in Berlin. Schnitzler was a young man,
an Austrian, and his Liebelei was far from home when it played in
Berlin, yet the calibre of the men who reviewed this play was very
high. Paul Schlenther thought that the drama wed its success to
its subject matter, because "a hisserl Lieb und a bisserl Treu und
a bisserl Falschheit is alleweil dabei.“ (42) Oskar Bie, the editor
of Die Neue Deutsche Rundschau was more enthusiastic. He called
Liebelei "wirkliche Dichtung, die aus dem Herzen Fliesst. Hier
gibt sich ein Dichter ganz und gar." (43) In general theoritics
agreed that Liebelei was the first Hlowering of a latent dramatio
talent.
Fickle, indeed, areoritios. With but few exceptions those wh¬
landed Liebelei condenned Freiwild. Oskar Bie said: Der Drama-
tiker in ihm suchte und er hat den Dichter ertränkt.“ (44) This
42. Preussische Jahrbücher, LXXIV, 493, September 1895.
43. Kunstwert, IX. 168, March 1896.
44. Kunstwart. X. 58. November 1896.