ANATOL. Arthur Schnitzler, past-master of the Viennese drama, opened his career as playwright in 1893 with
he chafes to hear his inamorata citing against him her husband's tastes and preferences; and now on his marriage morning he finds himself embarrassed to dispose of Ilona, who has frolicked with him the night before and little dreams that he is to leave her. Thus sentiment mingles with cynicism, melancholy with humor, in scenes which, despite their sensual implica tions, are delicate and refined. Technically, 'Anatol' is of interest as substituting for a dramatic story a series of impressionistic pic tures linked but loosely by an art deriving less from the stage than from fiction. Schnitzler's dialogue is delightful, quick to respond to every shift of emotion, suggestive, restrained, and evincing the finest literary tact. For English readers and playgoers, the piece has been pleasantly paraphrased by Granville Barker as The Affairs of Anatol' (1911).