Anzengruber, with such religious views as he expressed here, had to be opposed to the Catholicism in which he was brought up. He fights against the clericalism which was weighing so heavily on the peasants. He could feel their needs, for, though he was born in Vienna and lived there nearly all his life, there was more country than town blood in his veins. This connects him closer with Hauptmann, the Silesian, so deeply influenced in his art by home environment, than with any of the young Austrian writers who were all born in the big towns and did not know what firm rooting in the soil means. Anzengruber's traditions could not be followed by them and there is the greatest contrast between his strong energetic work and the dainty, tender, delicate things produced by Schnitzler as the first product of the young Viennese school just a year after Anzengruber's death. This was _Anatol_, a little work full of grace, charm, and playfulness. The loose way in which the seven scenes were connected only by Anatol's figure was perfectly original. It was really nothing but little sketches put into dialogues characteristic of Vienna, the town whose special glamour consist in the dialogue of ordinary conversation; the pretty chat of the drawing room, the café raised to the dignity of a fine art; and with all this, having a lightness, a delicacy, a frothiness, a wit, and a quality of sadness not found anywhere else. Women's influence penetrated this art--in Austria just as in the Latin countries the cult of women had always been a factor of culture and with this generation of poets her triumphal epoch started. She was put into the center. It was written around her and it was written for her. _Anatol_ belongs to those, for our days, improbable beings who only live for love; erotics are his sole occupation, his only profession. But he is not the victorious Don Juan full of self-confidence; he is rather quiet, with a shade of agreeable modesty,--a melancholic of love, he calls himself. The young Hofmannsthal wrote an introduction to the work of his friend in dainty verses. They expressed the spirit of this art extremely well, so I will quote them partly, though it would require an artist to translate them in good form. He says: Well, let's begin the play, Playing our own piece Early matured, sad and tender, Our own soul's comedy; Our feelings past and present, Dark things lightly said, Smooth words, joyous pictures, Vague emotions, half experienced, Agonies and episodes.