But as it is the silken portières of discreet alcoves are opened quietly before our eyes, and we hear the whisper of the most intimate secrets. But with all their realism there is no word in these dialogues which could antagonize the susceptibilities of any sincere student or true lover of humanity. All stratagems of sex are uncovered not through the curious observations of a faunic mind, but through the finer eyes of a connoisseur of things human. The Puritan fanatic with his jaundiced inhibitions or the moral ideologist with his heart of leather may toss the book aside resentful because of its inherent truth. The philosopher of human life, taking the larger aspect of this drama, will close it with the serene smile of understanding. Any attempt to turn a dialogue so full of delicate shades as is this of Schnitzler into a language like English, whose genius tends rather toward a graphic concreteness and realism, is full of pitfalls and difficulties. The translators, however, hope that they have accomplished their task with reasonable success, thinking always of the spirit rather than the letter. They also take this occasion to express their appreciation to Dr. Arthur Schnitzler for his kindness in granting them his authorization for this translation of _Reigen_. F. L. G. L. D. E. New York 1920 HANDS AROUND CHARACTERS THE GIRL OF THE STREETS, THE SOLDIER, THE PARLOR MAID, THE YOUNG MAN, THE YOUNG WIFE, THE HUSBAND, THE SWEET YOUNG MISS, THE POET, THE ACTRESS, THE COUNT. THE GIRL OF THE STREETS AND THE SOLDIER _Late in the evening near the Augarten Bridge._ SOLDIER (_Enters whistling, on his way home_) GIRL Hello, my beautiful angel! SOLDIER (_Turns and continues on his way_) GIRL Don’t you want to come with me? SOLDIER Oh, I am the beautiful angel? GIRL Sure, who else? Do come with me. I live very near here. SOLDIER I’ve no time. I must get back to the barracks. GIRL You’ll get to your barracks in plenty of time. It’s much nicer with me. SOLDIER (_Close to her_) That’s possible. GIRL Ps-st! A guard may pass any minute. SOLDIER Rot! A guard! I carry a saber too! GIRL Ah, come with me. SOLDIER Let me alone. I have no money anyway. GIRL I don’t want any money. SOLDIER (_Stopping. They are under a street-lamp_) You don’t want any money? What kind of a girl are you, then? GIRL The civilians pay me. Chaps like you don’t have to pay me for anything. SOLDIER Maybe you’re the girl my pal told me about. GIRL I don’t know any pal of yours. SOLDIER You’re she, all right! You know—in the café down the street—He went home with you from there. GIRL Lots have gone home with me from that café… Oh, lots! SOLDIER All right. Let’s go! GIRL So, you’re in a hurry now? SOLDIER