Médico por imposición, judío vienés, burgués, escritor, Arthur Schnitzler (1862-1931) puede pasar por emblema de aquella Viena que, a caballo de los siglos XIX y XX, y poblada por figuras que iban de Klimt y Schiele a Mahler y Adolf Loos, de Freud y Jung a Wittgenstein, de Hoffmanstahl y Rilke a Joseph Roth y Stefan Zweig, disputaba en la Mitteleuropa la primacía del esplendor cultural y social a París. Emparejadas por el novedoso recurso al monólogo interior, las dos obras que se reúnen en este volumen retratan sendos personajes pertenecientes a segmentos relevantes de la sociedad del imperio. El teniente Gustl (1900), que valió al autor la expulsión del ejército, pinta el angustioso debate interno de un oficial ocioso, mujeriego, antisemita y botarate a quien un incidente nimio a la salida de la ópera y el código del honor de la institución empujan a considerar como única salida el suicidio. La señorita Else (1923) centra su atención en una jovencita de la alta sociedad a quien la divergencia entre la vida interior y la exterior, social, sujeta a convenciones y presiones insoslayables, lleva al desastre. Traducción de Isabel García Adánez
Although these two novellas by Arthur Schnitzler have been written almost 20 years apart (to my knowledge), they share a common theme: the possible ramification of inner chatter. Fräulein Else as well as Leutnant Gusto find themselves in seemingly hopeless situations, in which whatever action they take they will ultimately - so it appears to them - have to face public ridicule and societal downfall. The only way out is suicide. By taking their own lives, they will protect their honour and not bring shame on themselves and their families.
From the reader's perspective, it seems obvious that either situation is not genuinely hopeless but only appears to be so through the protagonists' skewed lenses. Both of them lack awareness that their own cognitive processes are guided by the compulsive need to fit a certain role in society and the anxiety of failing to do so. The prospect of publicly behaving in a way that is not deemed to be appropriate and that exposes their faults seems worse than suicide.
Interestingly, both protagonists mention that committing suicide will be entirely their own decision and is in their own control. For the reader, however, it seems neither of them is in any control whatsoever. They are driven by their own intrusive and repetitive thoughts.
Naturally, both novellas have to be understood in the context of Schnitzler's time and his contribution to literature. I am certainly not a historian nor an expert on literature, but from what I understand he was one of the first authors to use the so-called "inner consciousness", a literary method trying to depict all elements of a protagonist's thought process as they come. This method very much illustrates the repetitive and circular way in which thoughts and feelings can behave and seems to give an accurate account of the protagonists' inner chatter.
Although, society has significantly changed over the past 100 years and one would be unlikely to find themselves in exactly the same situations as Fräulein Else or Leutnant Gusto (at least not in Western society), the theme of needing to play a certain role and not losing one's face in the public eye is still a common one. Especially during times of social media, it seems to have immense importance to cit a certain image and publicly portray oneself in the best possible light. This shows the timeless value and great significance of Schnitzler's work.
I cannot imagine two better examples of "stream of consciousness" writing than these two brilliant novellas. I prefer the German term Innerer Monolog (inner or internal monologue), which is at once a definition and a description of the technique. In these two unrelated stories, the main characters each confront a serious crisis in their lives. By allowing us to "read their minds" Arthur Schnitzler lets the reader identify and even "suffer" with them personally.
Leutnant Gustl habe ich in der Schule gelesen und es war eines meiner Lieblingslektüren und daher hatte ich Lust es wieder zu lesen. Das zweite Werk dieses Buches kannte ich nicht, gefiel mir jedoch auch sehr. Schnitzler guter Mann.
Más que interesantes estos dos relatos sustentados ambos en un constante monólogo interior de sus protagonistas. En uno nos encontramos a un teniente que ha sido insultado por un 'don nadie' (un panadero) y, ante tal deshonra y la posibilidad de que todo el mundo se entere de ella, solo atisba una solución: el suicidio. En el otro nos metemos en la mente de una jovencita de la alta sociedad que se encontrará ante un gran dilema cuando deba obtener dinero para evitar que su padre vaya a la cárcel, y su único vía para obtenerlo proceda de un viejo verde que le pedirá algo humillante a cambio. Creo que Schnitzler logra darle a ambos monólogos (flujos de conciencia) bastante veracidad, realismo. Por momentos son vertiginosos, caóticos, trastabillados... a tono con la crisis, las dudas y la histeria que inunda las mentes de los dos protagonistas.
A rare good example for well a executed Stream of consciousness/innerer Monolog (engl. internal monologue); it's not too repetitive to be annoying, but just repetitive enough to depict the constant circle of thoughts, leading to the complete focus on one problem, completely disregarding other factors and people. Easy to read and understand, perfect portrayal of interesting stylistic writing and culturally important!