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Arthur Schnitzler (1862-1931)


Austrian dramatist, novelist, short story writer and critic, who dealt with the theme of illusion and reality in many variations. After the end of the Austro-Hungarian Empire, Schnitzler lost the cultural background of his work. Several of Schnitzler's plays and other writings about the decadent mood of fin de siècle Vienna have found their way onto the screen.

SOLDIER: There isn't a soul about, you know.
PARLOURMAID: Let's go back where there are people.
SOLDIER: We don't need people, Miss Marie, we need ... ha ha ...
PARLOURMAID: But Mr Franz, I beg you, for God's sake... if only I'd realized... oh, oh ... come on then ...
* * * *
SOLDIER: [blissfully happy]: Dear God, one more... ah ...
PARLOURMAID: I can't see your face.
SOLDIER: What's my face got to do with it?
(from La Ronde, adapted by John Barton, from a translation by Sue Davis, 1982)

Arthur Schnitzler was born in Vienna, the son of Professor Johann Schnitzler, a distinguished Jewish throat specialist, and Louise Markbreiter, a doctor's daughter. Schnitzler's brother Julius became a surgeon and his sister Gisela married a rhinologist. At the age of 16, Schnitzler visited a prostitute and when his father found out, he showed his son an illustrated treatise on sexually transmitted diseases.

Schnitzler started writing as a boy, with poetry that was published in a prominent newspaper. He also became a competent amateur pianist. Although his father disapproved of his literary aspirations, Schnitzler held him in high esteem; the title character of his comedy Professor Bernhardi (1912), about old and new in the medical profession, is supposedly modelled on him. The play was suppressed until 1918 and caused outrage amongst anti-semites because of its portrayal of a Jew, who refuses to compromise his convictions. However, Schiltzer portrayed Bernardi as an unwilling martyr.

Following in the footsteps of his father, Schnitzler qualified for his own surprise in medicine at the University of Vienna in 1895 - he had spent more time with his plays and other writings than with his studies. At the same time Schnitzler had developed a keen interest in psychiatry. In the early 1890s, Schnitzler had started to write plays, which were first presented, in Czech, in Prague. After the death of his father in 1893, Schnitzler gave up his hospital post and kept only a few private patients. With Liebelei, produced at the Burgtheater in 1895, Schnitzler became famous all over Austria and Germany.

The year after his father's death, Schnitzler himself had experiences auditory hallucinations. He also suffered from tinnitus. Schnitzler's close acquaintance with Sigmund Freud, who was a few years older, led him to write a thesis on the hypnotic treatment of neuroses. Freud's envy of his apparently effortless insights into the workings of the mind is well known. On Schnitzler's sixtieth birthday, Freud send him a letter, in which he wrote: "Your determinism as well as your scepticism - what people call pessimism - your preoccupation with the truth of the unconscious and of the instinctual drives in man, your dissection of the cultural conventions of our society, the dwelling of your thoughts on the polarity of love and death; all this moves me with an uncanny feeling of familiarity."

Like other Viennese writers, artists, musicians, and intellectuals, Schnitzler spent hours talking with his friends in the unique world coffeehouses, enjoying at the same time a cup of coffee and perhaps a strudel. All epoch-making people knew each other. In Café Griensteidl Schnitzler met Hugo von Hofmannstahl and other colleagues, and sometimes traded mistresses. Theodor Herzl, the founder of political Zionism, appeared later in the character of Leo Gowolsky in Schnitzler's autobiographical novel The Road to the Open, in which Georg, a gifted composer, begins a love affair with a singing teacher, Anna Rosner, and makes her pregnant. Georg, who could be seen as a portrait of the author himself, avoids commitments. Anna accepts his decision calmly - but perhaps this is not what happened in real life.

Schnitzler's early literary reputation was largely gained through his plays, starting from Anatol (1893), about the "sexual neurasthenia" of a young man. His work, which was daring for his time, shows deep understanding of the unconscious and the subconscious - he has often been classified as the creative equivalent of his friend Sigmund Freud, who admitted that he recognized his "double" in the author. 

In his diary Schnitzler once recorded, that one of his girlfriends, Jeannette, had eight orgasms a night, usually about fifty a month. He had a relationship with his patient, Marie Glümer, and a stormy affair with the actress Adele Sandrock, who played the leading lady in his drama Das Märchen (prod. 1893). Although Schnitzler himself had a variety of mistresses, his experiences with Marie Reinhard between 1894 and 1899 influenced his writing most extensively. After Marie's death, he visited her grave every year. With Olga Gussmann, a 21-year old actress and singer, whom he married in 1903, he had two children, Heinrich and Lili. Feeling herself neglected, Olga began an affair with a pianist. The marriage was officially dissolved in 1921.

Schnitzler's stories of sexual intrigue and portrayals of women were well received by a faithful circle of readers. The story Casanovas Heimfahrt (1918, Casanova's Homecoming) and the comedy Die Schwestern; oder, Casanova in Spa (1919, The Sisters, or, Casanova in Spa) portrayed Giacomo Casanova and his conquests. In Casanova's Homecoming the aged lover feels nothing but disgust for himself, the women with whom he has sex, his male friends, and the church and its representatives. The novel was translated from German by Eden and Cedar Paul, and published in 1922 by Thomas Seltzer. Armed with a warrant, John Summer and other members of the New York Society for the Suppression of Vice seized more than 800 copies of the book on their raid on the publisher's offices. When the case went to court, witnesses for the defense included the literary critic Carl Van Doren, psychiatrist Adolph Stern, and magazine editors Gilbert Seldes and Dorothea Brand. All charges against Seltzer were dismissed. 

Reigen (1900, Hands Around, also known as La Ronde) is among Schnitzler's best-known dramas. It is a skilfully constructed play in ten dialogues, in which the characters are seen after coitus as well as before - love making is marked by asterisks in the written text. Beginning with the seduction of a Soldier by a Prostitute, each subsequent dialogue is related to its predecessor to form a cycle. The character number ten, the Count, makes love to the Prostitute, and closes the circle. Schnitzler's work caused one of the greatest scandals in the history of the German theatre and provoked anti-semitic riots in Berlin. A six-day obscenity trial resulted in an acquittal, but the author banned any performances of the play in Europe until after his death.

Hands Around was not performed until 1920. The light-heartedly juxtaposed love-and-death theme inspired Max Ophuls's film La Ronde (1950). It was the second time the director had adapted a play by Schnitzler, the first being Liebelei (1931). Ophuls used in the film a "master of ceremonies", played by Anton Walbrook, who keeps La Ronde "moving" and directly addresses the audience. Ophuls refuses to judge his characters, he leaves this solely to the spectators.

Schnitzler's fiction is considered more important than his plays. In Sterben (1895), depicting a dying man, he gave an example of an early "stream-of-consciousness" technique, which he used systematically in Leutnant Gustl (1900), anticipating Joyce's Ulysses. This work was considered an insult to the whole Army and is thought to have cost Schnitzler his officer's rank - Schnitzler was removed from the reserve list of the Austrian Medical Corps. "No writer has ever received so much abuse in the course of his career as I have," Schnitzler complained in his diary. The protagonist of the story is a poor young officer is unable to satisfy his "honor" after he has been insulted by another man, a master baker. Gustl's suicidal thoughts are told through the interior monologue. Der Weg ins Freie (1908, The Road to the Open) depicts a composer, who has real gifts but lacks drive. Central themes in this work are anti-Semitism and the ending of a romantic relationship. Fräulein Else (1926), one of Schnitzler's most popular books, is a monologue of a nineteen-year-old girl forced to show herself in the nude to his father's friend because of her family's debts. Her thought reveal what she dare not say. Living up to a daughter's duty, she yields to this demand but then commits suicide.

Traumnovelle (1926, Rhapsody: A Dream Novel) was adapted for the screen by Stanley Kubrick in 1999. "Overlong, and flawed, but still compelling, with two megawatt star performances," wrote Leonard Maltin in his Movie & Video Guide (2000). "Nudity is plentiful, but the European version is even more graphic." Schnitzler makes a parallel between sexual fantasies and real life. Doctor Fridolin's wife Albertine reveals to him one morning her dream, in which secret sexual desires come into the light. Fridolin finds the confession disturbing. He visits a house where he nearly participates in orgies, but is then forced by two men to leave the place. Now it is Fridolin's turn to reveal his adventure or dream to Albertine. He starts to understand his wife from a new basis. The end of the novel is open both to the renewal and the break-up of the marriage.

Most of Schnitzler's later years, spent in a luxurious villa overlooking Vienna, were devoted almost entirely to writing. After the Hapsburg monarchy had collapsed, Schnitzler shifted from playwriting to fiction. His social-political criticism was veiled, and once he said: "Martyrdom has always been a proof of the intensity, never of the correctness of a belief." The death of his daughter, Lili Schnitzler Cappellini, in 1930 at the age of eighteen, was a great shock to the author and he never fully recovered from it. While on vacation in Venice she had fallen in love with a Fascist military officer, twenty years her senior. They married when she was seventeen and a year later she committed suicide. It has been told, that on his way home from her funeral Schnitzler saw a woman reading his book, Fräulein Else.

Schnitzler died on October 21, 1931, in Vienna. His works were banned by the Nazi party in Germany, and also in Austria. In 1933, when Joseph Goebbels organized book burnings in Berlin and other cities, Schnitzler's works were thrown into flames along with those of other Jews - Einstein, Marx, Kafka, Freud, and Stefan Zweig.

For further reading: Literature Suppressed on Sexual Grounds by Dawn B. Sova (2006); A Companion to the Works of Arthur Schnitzler by Dagmar C. G. Lorenz (2003); Schnitzler's Century: The Making of Middle-Class Culture, 1815-1914 by Peter Gay (2001); Political Dimensions of Arthur Schnitzler's Late Fiction by Felix W. Tweraser; Arthur Schnitzler's Late Plays: A Critical Study by G. J. Weinberger (1997); Arthur Schnitzler and the Discourse of Honor and Duelling by A.C. Wisely (1996); Vienna: Image of a Society by B. Thompson (1990); Arthur Schnitzler and Politics by A.C. Roberts (1989); Dekadenz im Werk Arthur Schnitzlers by A. Fritsche (1974); Arthur Schnitzler by G. Badman (1973); Arthur Schnitzler by R. Urbach (1973); Arthur Schnitzler: A Critical Biography by M. Swales (1971); My Youth in Vienna by A. Schnitzler (1971); Studies in Arthur Schnitzler ed.  H.W. Reichert and H. Salinger (1963); Arthur Schnitzler by S. Liptzin (1932)

Selected works:

  • Episode, 1889
  • Anatols Hochzeitsmorgen, 1890
  • Alkandis Lied, 1890
  • Die Frage and Das Schicksal, 1890
    - Ask No Questions and You'll Hear No Stories (translated by W. Chambers, in Drama: Its History, Literature and Influence on Civilization, Vol. 12, 1903-04)
  • Das Abenteuer seines Lebens, 1891
  • Denksteine, 1891
  • Weihnachtseinkäufe, 1891
  • Anatol, 1893 (play)
    - Anatol: A Sequence of Dialogues (translated by H. Granville-Barker, 1911) The Affairs of Anatol (tr. 1933) / Anatol (translated by Frank Marcus, 1982; Charles Osborne, in The Round Dance and Other Plays, 1983; William-Alan Landes, 1999) / Anatol; Living Hours; The Green Cockatoo (translated by Grace Isabel Colbron, 19--)
    - Films: 1921, The Affairs of Anatol, dir. Cecil B. DeMille, starring Wallace Reid, Gloria Swanson; 1962, dir.  Otto Schenk; 1995, Un jour, ce soir là, dir.  Laurent Boulanger, starring Jean-Pierre Lorit, Mireille Perrier
  • Abschiedssouper, 1893
    - A Farewell Dinner (translated by H. Granville-Barker, in Reading Drama, 1950)
  • Agonie, 1893
  • Das Märchen, 1894 (play, prod. 1893)
  • Liebelei, 1895 (play)
    - Light ó Love (translated by Bayard Quincy Morgan, in The Drama, 1912; B. Q. Morgan, in Twenty-five Modern Plays, 1953) /  Playing with Love (translated by P. Morton Shand, 1914) / The Game of Love (translated by C. Mueller, in Masterpieces of the Modern Central European Theater, 1967) / Flirtations (translated by Arthur S. Wensinger and Clinton J. Atkinson, in Plays and Stories, 1982) / Love Games (translated by Charles Osborne, in The Round Dance and Other Plays, 1983) / Dalliance (translated by Tom Stoppard, 1986)
    - Films: 1927, dir.  Jacob Fleck and Luise Fleck, screenplay by Herbert Juttke; 1933, Une histoire d'amour, dir.  Max Ophüls, starring Abel Tarride, Magda Schneider, Simone Héliard, Gustaf Gründgens; 1958, Christine, dir.  Pierre Gaspard-Huit, starring Romy Schneider, Alain Delon, Micheline Presle
  • Sterben, 1895
    - Dying (translated by Harry Zohn, in The Little Comedy and Other Stories, 1977; Margret Schaefer, in Desire and Delusion: Three Novellas, 2003; Anthea Bell, 2006)
  • Die überspannte Person , 1896
  • Halb Zwei, 1897 (play)
  • Freiwild, 1898 (play)
    - Free Game (translated by Paul Grumman, 1913)
    - Film 1928, dir.  Holger-Madsen, screenplay by Herbert Juttke, Georg C. Klaren
  • Paracelsus, 1898
    - Paracelsus (translated by G.J. Weinberger, in Paracelsus and Other One-Act Plays, 1994)
  • Die Frau des Weisen, 1898
  • Der grüne Kakadu, 1899 (play)
    - The Green Cockatoo (translated by E. Van der Meer, in Plays for the College Theater, 1934;  G.J. Weinberger, in Paracelsus and Other One-Act Plays, 1994;  S.H. Landes) / Anatol; Living Hours; The Green Cockatoo (translated by Grace Isabel Colbron, 19--)
    - Film 1963, dir.  Michael Kehlmann
  • Das Vermächtnis, 1899 (play)
    - The Legacy (translated by Mary L. Stephenson, in Poet Lore, 1911)
  • Der grüne Kakadu; Paracelsus; Die Gefährtin: Drei Einaker, 1899 (plays)
    - The Green Cockatoo and Other Plays (translated by Horace B. Samuel, 1913) / Paracelsus and Other One-Act Plays  (translated by G.J. Weinberger, 1994)
  • Reigen, 1900 (play, prod. 1920)
    - Hands Around (translated by L.D. Edwards and F.L. Glaser, 1920) / Couples (translated by Lily Wolfe and E.W. Titus, 1927)  / Merry-Go-Round (translated by Frank and Jacqueline Marcus, 1953) / Dance of Love (translated by Keene Wallis, introduction by Daniel Seltzer, 1965) / La Ronde translated by Frank and Jacqueline Marcus; C. Mueller, in Masterpieces of the Modern Central European Theater, 1967) / The Round Dance (translated by E. Bentley, in Themes of Drama, 1973) / La Ronde: Ten Dialogues (translated by Eric Bentley, 1978) / La Ronde (translated by Sue Davies, 1982) / The Round Dance and Other Plays (translated by Charles Osborne, 1983)
    - Piirileikki (suom. Heikki Salojärvi, 1983)
    - Films: 1950, dir.  Max Ophuls, starring Simone Signoret, Anton Walbrook, Simone Simon, Danielle Darrieux, Odette Joyeux, Isa Miranda, Gérald Philipe; 1964, dir.  Roger Vadim, starring Jean-Claude Brialy, Marie Dubois, Jane Fonda, Claude Giraud, Anna Karina; 1973, dir.  Otto Schenk; 2007, Berliner Reigen, dir. Dieter Berner
  • Leutnant Gustl, 1901
    - None But the Brave (translated by Richard L. Simon, 1926; R.L. Simon, in Viennese Novelettes, 1931) / Lieutenant Gustl  (translated by Margret Schaefer, in Bachelors: Novellas and Stories, 2006)
  • Frau Berta Garlan, 1901
    - Bertha Garlan (translated by Agnes Jacques, 1913; J.H. Wisdom and Marr Murray, 1914) / Berta Garlan (translated by G.J. Weinberger, 1987)
    - Rouva Berta Garlan (suom. Seere Sario, 1917)
  • Der Schleier der Beatrice, 1901 (play)
  • Sylvesternacht: Ein Dialog, 1901 (play)
    - Film 1978, Silvesternacht - Ein Dialog, dir. Hajo Gies, Douglas Sirk, starring Hanna Schygulla, Christian Berkel
  • Lebendige Stunden, 1902 (plays, includes Die Frau mit dem Docke, Die letzten Masken, Literatur, Lebendige Stunden)
    - Living Hours (tr. Paul H. Grummann, 1913; Grace Isabel Colbron, in Chief Contemporary Dramatists, 1921)
  • Die Frau mit dem Dolche, 1902 (play)
  • Die letzten Masken, 1902 (play)
    - Viimeiset naamiot: yksinäytöksinen näytelmä (suom. Kasimir Leino, 1908)
  • Literatur, 1902 (drama)
    - Literature (translated by A. Coleman, in German Classics of the Nineteenth and Twentieth Centuries, 1913-1914)
    - Kaksi kirjailijaa: yksinäytöksinen huvinäytelmä (suom. Kasimir Leino, 1908)
  • Der Puppenspieler: Studie in 1 Aufzuge, 1903 (play)
    - The Puppeteer  (translated by G.J. Weinberger, in Paracelsus and Other One-Act Plays, 1994)
  • Der tapfere Cassian: Puppenspiel in einem Akt?, 1904 (play)  
    - The Gallant Cassian (translated by 1914;  G.J. Weinberger, in Paracelsus and Other One-Act Plays, 1994)
  • Der einsame Weg, 1904 (play)
    - The Lonely Way (translated by E. Björkman, 1904) / The Lonely Way (translated by J. Leigh, in Representative Modern Dramas, 1936) / The Lonely Way (translated by Margret Schaefer, Jonathan Bank, in Arthur Schnitzler Reclaimed, 2005)
    - Yksinäinen tie (suom. Aili Palmén, 1972)
  • Die griechische Tänzerin, 1905
  • Zum großen Wurstel, 1905
  • Der ruf des lebens: schauspiel in drei Akten, 1906 (play)
  • Marionette, 1906 (plays, includes Der Puppenspieler, Der tapfere Cassian, Zum grossen Wurstel; rev. version of Der tapfere Cassian, music by Oscar Sraus, 1909)
    - The Gallant Cassian (tr. 1914) / Marionettes (translated by G.J. Weinberger, in  Paracelsus and Other One-Act Plays, 1994)
  • Zwischenspiel, 1907 (play)
    - Intermezzo (translated by Edwin Björkman, in Three Plays, 1915)
  • Dämmerseelen: Novellen, 1907
  • Komtesse Mizzi; oder, Der Familientag, 1908 (play)
    - Countess Mizzie (translated by Edwin Björkman, in Three Plays, 1915) / Countess Mitzi; or, The Family Reunion, in Plays and Stories, 1982)
    - Film 1975, Komtesse Mizzi, dir.  Otto Schenk, starring Christine Ostermayer
  • Der Weg ins Freie, 1908
    - The Road to the Open (translated by Horace Samuel, 1923) / The Road to the Open (translated by Roger Byers 1992)
  • Die Verwandlungen des Pierrot, 1908 (play)
    - The Transformation of Pierrot (translated by G.J. Weinberger, in  Paracelsus and Other One-Act Plays, 1994)
  • Der Mörder, 1910
    - The Murderer (translated by Margret Schaefer, in Bachelors: Novellas and Stories, 2006)
  • Der junge Medardus, 1910 (play)
    - Film 1923, dir. Michael Curtiz (Mihaly Kértesz), screenplay by Ladislaus Vajda
  • Der Schleier der Pierrette Pantomime in drei Bildern, 1910 (music by Ernst von Dohnanyi)
    - The Veil of Pierrette (translated by G.J. Weinberger, in  Paracelsus and Other One-Act Plays, 1994)
  • Das weite Land, 1911 (play)
    - The Vast Domain (tr. 1923) / Undiscovered Country (English version by Tom Stoppard, 1980) / Far and Wide (translated by Jonathan Bank, in Arthur Schnitzler Reclaimed, 2005)
    - Film 1987, dir.  Luc Bondy, starring Michel Piccoli, Bulle Ogier, Wolfgang Hübsch, Barbara Rebeschini
  • Masken und Wunder, 1912
  • Die Hirtenflöte, 1912
  • Gesammelte Werke, 1912 (7 vols.)
  • Viennese Idylls, 1913
  • Professor Bernhardi, 1912 (play)
    -  Professor Bernhardi (translated by Mrs. Emil Pohli, 1913; L. Borell and R. Adam, in Famous Plays of 1936, 1936)
  • Frau Beate und ihr Sohn, 1913
    - Beatrice and Other Stories (translated by Agnes Jacques, 1926) / Beatrice (translated by A. Jacques, in Viennese Novelettes, 1931)
    - Rakkauden virvatulia (suom. Opri Mattila, 1945)
  • Viennese Idylls, 1913
  • Die griechische Tänzerin und andere Novellen, 1914
  • Komödie der Worte, 1915 (includes Stunde des Erkennens, Grosse Szene, Das Bacchusfest)
    - The Hour of Recognition, The Big Scene, The Festival of Bacchus, in Comedies of Words and Other Plays (tr. 1917) / Comedy of Words (translated by G.J. Weinberger, in Plays, 1993) / The Hour of Recognition (translated by G.J. Weinberger, in Plays, 1993) / The Big Scene (translated by G.J. Weinberger, in Plays, 1993) / The Bacchanale (translated by G.J. Weinberger, in Plays, 1993)
  • The Lonely Way, Intermezzo, Countess Mizzie, 1915 (translated by Edwin Björkman)
  • Fink und Fliederbusch, 1917 (play)
    - Flink and Fliederbusch (translated by G.J. Weinberger, 1993)
  • Comedies of Words and Other Plays, 1917 (translated by Pierre Loving)
  • Doktor Gräsler, Badearzt, 1917
    - Dr. Graesler (translated by E.C. Slade, 1930) / Doctor Graesler  (translated by Margret Schaefer, in Bachelors: Novellas and Stories, 2006)
    - Film 1991, Mio caro dottor Gräsler, dir.  Roberto Faenza, starring Keith Carradine, Miranda Richardson, Kristin Scott Thomas
  • Casanovas Heimfahrt, 1918
    - Casanova's Homecoming (translated by Eden and Cedar Paul, 1921; Margret Schaefer, in Bachelors: Novellas and Stories, 2006 ) / Casanova's Return to Venice (translated by Lisa Barea, 1998) / Casanova’s Journey Home and Other Late Stories (translated by Norman M. Watt, 2001)
    - Films: 1980, Il Ritorno di Casanova, dir.  Pasquale Festa Campanile; 1992, Le Retour de Casanova, dir.  Edouard Niermans, starring Alain Delon
  • Die Schwestern; oder, Casanova in Spa, 1919 (play)
    - The Sisters, or, Casanova in Spa (translated by G.J. Weinberger, in Three Late Plays, 1992)
  • The Shepherd's Pipe and Other Stories, 1922 (translated by O.F. Theis)  
  • Die dreifache Warnung: Novellen, 1924
  • Fräulein Else, 1924
    - Fräulein Else (translated by R.L. Simon, in Viennese Novelettes, 1931) / Fräulein Else: A Novelette (translated by F.H. Lyon, 1998); Fraulein Else (translated by Margret Schaefer, in Desire and Delusion: Three Novellas, 2003) 
    - Films: 1928, dir.  Paul Czinner, starring Elisabeth Bergner, Albert Bassermann, Albert Steinrück; 1946, El Ángel desnudo, dir.  Carlos Hugo Christensen
  • Komödie der Verführung, 1924 (play)
    - Seduction Comedy  (translated by G.J. Weinberger, in Three Late Plays, 1992)
  • Die Frau des Richters, 1925
  • Traumnovelle, 1926
    - Rhapsody: A Dream Novel (translated by Otto P. Schinnerer, in Viennese Novelettes, 1931) / Dream Story (translated by Margaret Schaefer, in Night Games: And Other Stories and Novellas, 2001)  
    - Tohtori eksyy erotiikkaan (suom. Kalle Väänänen, 1928) / Unikertomus (suom. Oili Suominen, 1999)
    - TV film 1969, dir.  Wolfgang Glück, screenplay by Wolfgang Glück, Ruth Kerry; 1989, Ad un passo dall'aurora, dir. by Mario Bianchi; 1999, dir.  Stanley Kubrick, starring Tom Cruise, Nicole Kidman
  • Der Gang zum Weiher, 1926 (play) 
    - The Way to the Pond (translated by G.J. Weinberger, in Three Late Plays, 1992)
  • Beatrice and Other Stories, 1926
  • Spiel im Morgengrauen, 1927
    - Daybreak (translated by William A. Drake, 1927) / Night Games (translated by Margaret Schaefer, in Night Games: And Other Stories and Novellas, 2001)
    - Film 1931, dir.  Jacques Feyder, starring Ramon Novarro, Helen Chandler, Jean Hersholt
  • Buch der Sprüche und Bedenken, 1927
  • Der Geist im Wort und der Geist in der Tat: vonläufige Bemerkungen zu zwei Diagrammen, 1927
    - The Mind in Words and Actions (tr. 1972)
  • Therese: Chronik eines Frauenlebens, 1928
    - Theresa: The Chronicle of a Woman’s Life  (translated by William A. Drake, 1928)
  • Little Novels, 1929 (translated by Eric Sutton)
  • Im Spiel der Sommerlüfte, 1930 (play)
    - In the Play of Summer Breezes (translated by G.J. Weinberger, in The Final Plays, 1996)
  • Flucht in die Finsternis, 1931
    - Flight into Darkness (translated by William A. Drake, 1931; Margret Schaefer, in Desire and Delusion: Three Novellas, 2003)
  • Traum und Schicksal, 1931
  • Viennese Novelettes, 1931 (with illustrations by Kurt Wiese)
  • Die kleine Komödie, 1932
  • Die Mörderin, 1932
  • Die Gleitenden: Ein Akt: Büchnenmanuskript, aus dem Nachlass zum ersten Mal veröffentlicht, 1932
  • Anatols Grössenwahn, 1932
  • Reigen, The Affair of Anatol and Other Plays, 1933 (translated by G.I. Colbron)
  • Abenteurernovelle, 1937
  • Über Krieg und Frieden, 1939
    - Some Day Peace Will Return: Notes on War and Peace (edited and translated by Robert O. Weiss, 1972)
  • Flucht in die Finsternis und andere Erzählungen, 1939
  • Ausgewählte Erzählungen, 1950
  • Der Briefwechsel Arthur Schnitzler-Otto Brahm, 1953 (edited by Oskar Seidlin)
  • Meisterdramen, 1955 (plays)
  • Georg Brandes und Arthur Schnitzler; ein Briefwechsel, 1956 (edited by Kurt Bergel)
  • Große Szene, 1959
  • Gesammelte Werke, 1961-67 (5 vols., ed. Robert O. Weiss)
  • Die erzählenden schriften, 1961 (Gesammelte Werke, 2 vols.)
  • Die Dramatischen Werke, 1962 (Gesammelte Werke, 2 vols.)
  • Hugo von Hofmannsthal-Arthur Schnitzler: Briefwechsel, 1964 (edited by Therese Nickl and Heinrich Schnitzler)
  • Erzählungen, 1965
  • Spiel im Morgengrauen: Und acht andere Erzählungen, 1965
  • Das Wort, 1966
  • Aphorismen und Betrachtungen, 1967 (Gesammelte Werke, Vol. 5)
  • Jugend in Wien: Eine Autobiographie, 1968 (edited by Therese Nickl and Heinrich Schnitzler)
    - My Youth in Vienna (tr. Catherine Hutter, 1971)
  • Meistererzählungen, 1969
  • Frühe Gedichte, 1969
  • Zug der Schatten, 1970 (ed. Françoise Derre)
  • Die Starb Vor Der Zeit; Ein Briefwechsel [von] Arthur Schnitzler [und] Olga Waissnix, 1970 (ed.  Therese Nickl and Heinrich Schnitzler)
  • Der Briefwechsel Arthur Schnitzlers mit Max Reinhardt und dessen Mitarbeitern, 1971 (edited by Renate Wagner)
  • The Correspondence of Arthur Schnitzler and Raoul Auernheimer, 1972 (edited with introd. and notes by Donald G. Daviau and Jorun B. Johns)
  • Vienna 1900: Games with Love and Death, 1973
  • Dilly, 1975
  • Hugo von Hofmannsthal Charakteristik aus den Tagebüchern, 1975
  • Ritterlichkeit, 1975
  • Entworfenes und Verworfenes, 1977
  • The Little Comedy and Other Stories, 1977 (foreword by Frederick Ungar)
  • The Letters of Arthur Schnitzler to Hermann Bahr, 1978 (edited, annotated, and with an introd. by Donald G. Daviau)
  • Arthur Schnitzler: Tagebuch 1879-1931, 1981-2000 (10 vols., edited by Peter M. Braunwort and others; Vol. 1: 1879-1892; Vol. 2: 1893-1902; Vol. 3: 1903-1908; Vol. 4.: 1909-1912; Vol. 5: 1913-1916; Vol. 6: 1917-1919; Vol. 7: 1920-1922; Vol. 8: 1923-1926; Vol. 9: 1927-1930; Vol. 10: 1931)
  • Briefe 1875-1912, 1981 (edited by Therese Nickl and Heinrich Schnitzler)
  • Plays and Stories, 1982 (edited Egon Schwarz; foreword by Stanley Elkin)
  • The Round Dance, and Other Plays, 1983 (translated with an introduction by Charles Osborne)
  • Three Late Plays, 1992 (translated by G.J. Weinberger)
  • Professor Bernhardi and Other Plays, 1993 (translated by G.J. Weinberger; afterword by Jeffrey B. Berlin)
  • Paracelsus and Other One-Act Plays, 1994 (translated by G.J. Weinberger; afterword by Herbert Lederer)
  • Night Games: And Other Stories and Novellas, 2001 (translated by Margret Schaefer, foreword by John Simon)
  • Desire and Delusion: Three Novellas, 2003  (translated by Margret Schaefer)
  • Selected Short Fiction, 2003 (translated by J. M. Q. Davies)
  • Bachelors: Novellas and Stories, 2006 (translated by Margret Schaefer)

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