Hands Around [Reigen]: A Cycle of Ten DialoguesSchnitzler, Arthur
Science
Hands Around [Reigen]: A Cycle of Ten Dialogues
Schnitzler, Arthur
Austrian drama -- 19th century; Sex (Psychology) -- Drama; Sexual ethics -- Drama
Back, of course.
MAID
Please, don’t walk so fast.
SOLDIER
Well, what’s wrong? I don’t like to walk around in the dark.
MAID
Tell me, Frank … do you love me?
SOLDIER
But I just told you that I loved you!
MAID
Won’t you give me a little kiss?
SOLDIER
(_Condescendingly_) There… Listen—There’s the music again.
MAID
Would you really like to go back, and dance again?
SOLDIER
Of course, why not?
MAID
But, Frank, see, I have to get home. Madame will scold me anyway,—she’s
cranky … she’d like it best if I never went out.
SOLDIER
Well, you can go home.
MAID
But, I thought, Frank, you’d take me home.
SOLDIER
Take you home? Oh!
MAID
Please, it’s so sad to go home alone.
SOLDIER
Where do you live?
MAID
Not very far—in Porzellanstrasse.
SOLDIER
So? Then we go the same way … but it’s still too early for me … me for
the dance… I’ve got late leave to-day… I don’t need to be back at the
barracks before twelve o’clock. I’m going to dance.
MAID
Oh, I see, now it’s that cross-eyed blonde’s turn.
SOLDIER
Humph!—Her face isn’t so bad.
MAID
Oh Lord, how wicked men are. I’m sure you do the same to every one.
SOLDIER
That’d be too much!—
MAID
Please, Frank, no more to-day—stay with me to-day, you see—
SOLDIER
Oh, very well, all right. But I suppose I may dance.
MAID
I’m not going to dance with any one else to-night.
SOLDIER
There it is already…
MAID
What?
SOLDIER
The hall! How quick we got back. They’re still playing the same thing …
that tatata-tum tatata-tum (_He hums with the band_)… Well, I’ll take
you home, if you want to wait for me … if not … good-by—
MAID
Yes, I’ll wait.
(_They enter the dancehall_)
SOLDIER
Say, Miss Marie, get yourself a glass of beer. (_Turning to a blonde
who is just dancing past him in the arms of another, very formally_)
Miss, may I ask for a dance?—
THE PARLOR MAID AND THE YOUNG MAN
_Sultry summer afternoon. The parents of the YOUNG MAN are away in
the country. The cook has gone out. The PARLOR-MAID is in the kitchen
writing a letter to the soldier who is now her sweetheart. The YOUNG
MAN’S bell rings. She gets up and goes to his room. The YOUNG MAN is
lying on a couch, smoking a cigarette and reading a French novel._
MAID
Yes, Sir?
YOUNG MAN
Oh, yes, Marie, oh, yes; I rang, yes … I only wanted … yes, of course…
Oh, yes, of course, let the blinds down, Marie… It’s cooler with the
blinds down … yes…
(_The MAID goes to the window and pulls down the blinds_)
YOUNG MAN
(_Continues reading_) What are you doing, Marie? Oh, yes. But, now, I
can’t see to read.
MAID
You are always so studious, Sir.
YOUNG MAN
(_Ignoring the remark_) There, that’s better.
(_MARIE goes._)
YOUNG MAN
(_Tries to go on with his reading, lets the book fall, and rings again_)
MAID
(_Enters_)
YOUNG MAN
I say, Marie … let’s see, what was it I wanted to say? … oh, yes… Is
there any cognac in the house?
MAID
Yes, but it’s locked up.
YOUNG MAN
Well, who has the key?
MAID
Lini.
YOUNG MAN
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account