Professor Bernhardi is the professor of a medical institute in Vienna known as the Elizabethinum. A patient, a young woman, is dying in one of the wards13, the victim of malpractice. But her passing away will be painless. She is happy because she believes that she is on the road to recovery, that she will live to marry her beloved young man. Euphoria, the doctor calls her condition. To tell her the truth would be in his eyes criminal. She would die in anguish15. Why not let her go out of the world in bliss16? But a female nurse, a conscientious17 Roman Catholic, thinks differently. With the aid of a budding student she sends for Father Franz Reder in the near-by Church of the [Pg 213] Holy Florian. The priest obeys the summons, anxious to shrive a sinning soul, and to send her out of the world if not to Paradise, at least to Purgatory18. In the office he encounters Professor Bernhardi, who tells him politely but firmly that he won't allow his patient to be disturbed. The priest, without excitement but painfully impressed, argues that, even if there are a few moments of sorrow, the saving of the girl's immortal19 soul is of paramount20 importance. The physician shrugs21 his shoulders. His business is with the body, not the soul, and he continues to bar the way. The priest makes one last appeal, uselessly; but, unperceived, the nurse has slipped out, and going to the bedside of the dying woman announces the advent22 of the holy man. The patient screams in agony: "I am dying!" and she does die, from fright. Bernhardi is enraged23, though he never loses his air of sardonic24 politeness. The act ends. The result of the incident, magnified by a partisan25 press, is serious. A great lady, an archduchess, refuses to head the list of the Elizabethinum annual charity ball. She also snubs the wife of an aristocratic doctor. The politicians make fuel for their furnace, and presently the institution finds itself facing a grave deficit26, perhaps ruin, for the minister of instruction does not favour further subventions, though he is a school friend of Bernhardi; worse follows, the board of directors is split, some of its Jewish members going so far as to say that Bernhardi [Pg 214] should not have refused the consolations27 of religion to the dying. Wasn't the Elizabethinum Roman Catholic, after all?
There can be no doubt that the reason Arthur Schnitzler enjoyed handling the difficulties of such a theme is because his father was a well-known laryngologist of the University of Vienna, and he himself studied medicine and was an assistant doctor from 1886 to 1888 in the principal hospital of Vienna. With his father he helped to write a book entitled: The Clinical Atlas28 of Laryngology (1895). Hence his opportunity of studying the various types of Viennese professors in a little world must have been excellent. The veracity29 of his characters seems unimpeachable30. There are all kinds of Jews—in Europe there is no such false sensitiveness if a Jewish type is portrayed31 on the boards, so long as it is not offensive; for example, there is the Jew who believes himself the victim of anti-Semitism, and, while the dramatist makes him "sympathetic," nevertheless he is funny with his mania32 of persecution33. Then there is Doctor Goldberg, the lawyer, the counsel for Professor Bernhardi, in the prosecution34 case for insulting religion. He sends his boy to a Catholic college, his wife has Christian friends, and in his zeal35 not to seem friendly to Bernhardi, he loses the case. There are several others, all carefully sketched36 and with a certain wit that proves Schnitzler is as fair to his coreligionists as to the Gentiles. Let me [Pg 215] hasten to add that there is nothing that would cause offence to either race throughout the piece. Its banning in Austria is therefore a mystery to me, as it must have been to the author.
What is more serious is the absence of marked dramatic movement in the play. It reads much like a short story made long in its dramatic garb37. Fancy a play all men, chiefly bewhiskered; one woman in Act I, and only for ten minutes; fairly long-winded arguments for and against the ethics38 of the case. Not for more than one act would this capitally written work be tolerated on the English or American stage. Until Act IV there is hardly one genuine dramatic episode, though Bernhardi at a directors' meeting is forced to resign and is eventually sent to prison for two months. But in the penultimate act the priest calls on him, and for fifteen minutes the situation is strong and splendidly conceived. The conscience of the ecclesiastic39 brings him to Bernhardi, not to confess, but to explain.
At the trial he positively40 insisted that he did not believe Bernhardi had wished to insult religion, but that he followed the dictates41 of his conscience; he believed that he was doing his duty in sparing the girl the pain of discovery. But this statement was of no avail, for the nurse swore that the professor had employed physical violence to prevent the priest from entering the hospital ward14. Later she confesses her perjury42. Bernhardi is pardoned, is convoyed home in triumph by enthusiastic medical students, but [Pg 216] is so disgusted by the perfidy43 of some of his friends and associates that he returns to his private practice. His argument with the priest throws light on his obstinate44 character; in reality neither man retreats a jot45 from his original position. I must add that the priest, because of his honest attitude, although pressure had been put upon him, was relieved of his duties at St. Florian's and sent to a little village on the Polish border. He had displeased46 the powers that be. Again I must admire this portrait of a sincere man, obsessed47 by his sense of duty, a fanatic48, if you will, but upheld by his supreme49 faith.
The acting50 throughout was artistic51, Professor Bernhardi impersonated by Bruno Decarli, and Father Reder by Alfred Abel, the latter a subtle characterisation. The "team play" of the Kleines Theatre company was seen at its best in the third act, where the directors hold a stormy meeting. It was the perfection of ensemble52 work. The creator of Das Süsse M?del type of Vienna has painted a large canvas and revealed a grip on the essentials of characterisation. To Ibsen's An Enemy of the People he is evidently under certain obligations; Professor Bernhardi is a variation of Doctor Stockmann, plus not a little irony53 and self-complacency. But the thesis of Ibsen is less academic, sounder, of more universal interest than Schnitzler's. There is no metaphysical hair-splitting in An Enemy of the People, nor sentimental54 talk about euphoria [Pg 217] and going happily to death. Grim old Daddy Ibsen told us that people were being poisoned by impure55 spring water, and, as Alan Dale said, was the first man to write a drama around a drain-pipe. Arthur Schnitzler, shedding for the nonce his accustomed Viennese charm and nonchalance56, has written a comedy about a very grave subject, and has not uttered a single word that can be construed57 as disrespectful to either religion, Jewish or Roman Catholic. He is a genre58 painter almost to the point of perfection.
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1 interdicted | |
v.禁止(行动)( interdict的过去式和过去分词 );禁用;限制 | |
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2 specious | |
adj.似是而非的;adv.似是而非地 | |
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3 censor | |
n./vt.审查,审查员;删改 | |
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4 embroiled | |
adj.卷入的;纠缠不清的 | |
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5 deftness | |
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6 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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7 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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8 personalities | |
n. 诽谤,(对某人容貌、性格等所进行的)人身攻击; 人身攻击;人格, 个性, 名人( personality的名词复数 ) | |
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9 ostracism | |
n.放逐;排斥 | |
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10 conversions | |
变换( conversion的名词复数 ); (宗教、信仰等)彻底改变; (尤指为居住而)改建的房屋; 橄榄球(触地得分后再把球射中球门的)附加得分 | |
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11 Christian | |
adj.基督教徒的;n.基督教徒 | |
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12 heterogeneous | |
adj.庞杂的;异类的 | |
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13 wards | |
区( ward的名词复数 ); 病房; 受监护的未成年者; 被人照顾或控制的状态 | |
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14 ward | |
n.守卫,监护,病房,行政区,由监护人或法院保护的人(尤指儿童);vt.守护,躲开 | |
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15 anguish | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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16 bliss | |
n.狂喜,福佑,天赐的福 | |
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17 conscientious | |
adj.审慎正直的,认真的,本着良心的 | |
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18 purgatory | |
n.炼狱;苦难;adj.净化的,清洗的 | |
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19 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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20 paramount | |
a.最重要的,最高权力的 | |
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21 shrugs | |
n.耸肩(以表示冷淡,怀疑等)( shrug的名词复数 ) | |
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22 advent | |
n.(重要事件等的)到来,来临 | |
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23 enraged | |
使暴怒( enrage的过去式和过去分词 ); 歜; 激愤 | |
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24 sardonic | |
adj.嘲笑的,冷笑的,讥讽的 | |
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25 partisan | |
adj.党派性的;游击队的;n.游击队员;党徒 | |
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26 deficit | |
n.亏空,亏损;赤字,逆差 | |
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27 consolations | |
n.安慰,慰问( consolation的名词复数 );起安慰作用的人(或事物) | |
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28 atlas | |
n.地图册,图表集 | |
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29 veracity | |
n.诚实 | |
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30 unimpeachable | |
adj.无可指责的;adv.无可怀疑地 | |
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31 portrayed | |
v.画像( portray的过去式和过去分词 );描述;描绘;描画 | |
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32 mania | |
n.疯狂;躁狂症,狂热,癖好 | |
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33 persecution | |
n. 迫害,烦扰 | |
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34 prosecution | |
n.起诉,告发,检举,执行,经营 | |
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35 zeal | |
n.热心,热情,热忱 | |
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36 sketched | |
v.草拟(sketch的过去式与过去分词形式) | |
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37 garb | |
n.服装,装束 | |
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38 ethics | |
n.伦理学;伦理观,道德标准 | |
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39 ecclesiastic | |
n.教士,基督教会;adj.神职者的,牧师的,教会的 | |
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40 positively | |
adv.明确地,断然,坚决地;实在,确实 | |
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41 dictates | |
n.命令,规定,要求( dictate的名词复数 )v.大声讲或读( dictate的第三人称单数 );口授;支配;摆布 | |
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42 perjury | |
n.伪证;伪证罪 | |
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43 perfidy | |
n.背信弃义,不忠贞 | |
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44 obstinate | |
adj.顽固的,倔强的,不易屈服的,较难治愈的 | |
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45 jot | |
n.少量;vi.草草记下;vt.匆匆写下 | |
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46 displeased | |
a.不快的 | |
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47 obsessed | |
adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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48 fanatic | |
n.狂热者,入迷者;adj.狂热入迷的 | |
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49 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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50 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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51 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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52 ensemble | |
n.合奏(唱)组;全套服装;整体,总效果 | |
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53 irony | |
n.反语,冷嘲;具有讽刺意味的事,嘲弄 | |
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54 sentimental | |
adj.多愁善感的,感伤的 | |
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55 impure | |
adj.不纯净的,不洁的;不道德的,下流的 | |
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56 nonchalance | |
n.冷淡,漠不关心 | |
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57 construed | |
v.解释(陈述、行为等)( construe的过去式和过去分词 );翻译,作句法分析 | |
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58 genre | |
n.(文学、艺术等的)类型,体裁,风格 | |
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