It is rare to find an author turning with such regularity from the epic to the dramatic form and back again. And it is still more rare to find him so thoroughly at home and successful in both fields. In Schnitzler's case these two parallel veins have mutually supported and developed each other. Time and again he has treated the same theme first in one form and then in another. And not infrequently he has introduced characters from his plays into his stories, and vice versa. A careful study of his other works would undoubtedly assist toward a better understanding of his plays, but I do not regard such a study essential for the purpose. It is my belief that Schnitzler has given himself most fully and most typically in his dramatic authorship, and it is to this side of his creative production I must confine myself here. * * * * * "Anatol" is nothing but seven sketches in dramatic form, each sketch picturing a new love affair of the kind supposed to be especially characteristic of Viennese life. The man remains the same in all these light adventures. The woman is always a different one. The story is of the kind always accompanying such circumstances--one of waxing or waning attraction, of suspicion and jealousy, of incrimination and recrimination, of intrigue and counter-intrigue. The atmosphere is realistic, but the actuality implied is sharply limited and largely superficial. There is little attempt at getting down to the roots of things. There is absolutely no tendency or thesis. The story is told for the sake of the story, and its chief redeeming quality lies in the grace and charm and verve with which it is told. These were qualities that immediately won the public's favor when "Anatol" first appeared. And to some extent it must be counted unfortunate that the impression made by those qualities was so deep and so lasting. There has been a strong tendency observable, both within and outside the author's native country, to regard him particularly as the creator of _Anatol_, and to question, if not to resent, his inevitable and unmistakable growth beyond that pleasing, but not very significant starting point.