La RONDE (Reigen) or: Climaxing on the Merry-Go-Round by Arthur Schnitzler, translated by Henrik Eger
Arthur Schnitzler portrait. Berlin, circa 1905. Photo by Emil Bieber.
Reigen, Vienna, private print, 200 copies, 1900.
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Arthur Schnitzler (15 May 1862 – 21 October 1931) was an Austrian author and dramatist, physician, and playwright, born in Vienna, as the son of a prominent Hungarian Austrian Jewish family. In 1885, Schnitzler received his M.D. but abandoned the practice of medicine in favor of writing.
In 1903, Schnitzler married Olga Gussmann, a 21-year-old aspiring actress and singer. They had two children. The Schnitzlers separated in 1921. In 1931, Schnitzler died of a brain hemorrhage in Vienna. Following Hitler’s annexation of Austria in 1938, Schnitzler’s son Heinrich escaped to the US and did not return to Austria until 1959. Schnitzler's works were often controversial, both for their frank description of sexuality and for their strong stand against anti-Semitism. After the release of his play Reigen, in which ten pairs of characters are shown before and after the sexual act, leading and ending with a prostitute, Schnitzler was branded as a pornographer. The furor after this play was couched in the strongest anti-Semitic terms. Shortly after its 1920 Berlin premiere, Reigen was forbidden to be performed till 1982. However, years later, Reigen was made into many films, including a French language film (La Ronde) by the German-born director Max Ophüls in 1950. The film achieved considerable success in the English-speaking world, with the result that Schnitzler's play is better known there under its French title. Many adaptations followed on stage and in film. Asked what he thought about the critical view that his works all seemed to treat the same subjects, Schnitzler replied, "I write of love and death. What other subjects are there?" Schnitzler specialized in shorter works like novellas and one-act plays. In addition to his plays and fiction, Schnitzler meticulously kept a diary from the age of 17 until two days before his death. The manuscript, which runs to almost 8,000 pages, is most notable for Schnitzler's casual descriptions of sexual conquests. He was often in relationships with several women at once, and, for a period of some years, he kept a record of every orgasm. Schnitzler's works were called “Jewish filth" by Hitler and were banned by the Nazis in Austria and Germany. In 1933, when Goebbels organized book burnings in German cities, Schnitzler's works were thrown into flames, along with those of other Jews, including Einstein, Freud, Kafka, and Marx. Adapted from “Arthur Schnitzler,” Wikipedia, June 14, 2019. This translation differs from most others in that it relates much more to modern US English, while, at the same time, keeping intact the clear class divisions. It also does not shy away from presenting Schnitzler's deeply seated eroticism during oppressive times. |
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Deutsches Original:
Reigen von Arthur Schnitzler |
English translation:
La RONDE (Reigen) or: Climaxing on the Merry-Go-Round by Arthur Schnitzler, translated by Henrik Eger Copyright Henrik Eger, 2014-2020 |
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SZENE 1
DIE DIRNE UND DER SOLDAT Spät Abends. An der Augartenbrücke. Soldat (kommt pfeifend, will nach Hause). Dirne. Komm, mein schöner Engel. Soldat (wendet sich um und geht wieder weiter). Dirne. Willst du nicht mit mir kommen? Soldat. Ah, ich bin der schöne Engel? Dirne. Freilich, wer denn? Geh', komm' zu mir. Ich wohn' gleich in der Näh'. Soldat. Ich hab' keine Zeit. Ich muß in die Kasern'! Dirne. In die Kasern' kommst immer noch zurecht. Bei mir is besser. Soldat (ihr nahe). Das ist schon möglich. Dirne. Pst. Jeden Moment kann ein Wachmann kommen. Soldat. Lächerlich! Wachmann! Ich hab' auch mein Seiteng'wehr! Dirne. Geh', komm' mit. Soldat. Laß mich in Ruh'. Geld hab' ich eh kein's. Dirne. Ich brauch' kein Geld. Soldat (bleibt stehen. Sie sind bei einer Laterne). Du brauchst kein Geld? Wer bist denn du nachher? Dirne. Zahlen tun mir die Zivilisten. So einer wie du, kann's immer umsonst bei mir haben. Soldat. Du bist am End' die, von der mir der Huber erzählt hat. – Dirne. Ich kenn' kein' Huber nicht. Soldat. Du wirst schon die sein. Weißt – in dem Kaffeehaus in der Schiffgassen – von dort ist er mit dir z' Haus gangen. Dirne. Von dem Kaffeehaus bin ich schon mit gar vielen z' Haus gangen ... oh! oh! – Soldat. Also geh'n wir, geh'n wir. Dirne. Was, jetzt hast's eilig? Soldat. Na, worauf soll'n wir noch warten? Und um Zehn muß ich in der Kasern' sein. Dirne. Wie lang dienst denn schon? Soldat. Was geht denn das dich an? Wohnst weit? Dirne. Zehn Minuten zum geh'n. Soldat. Das ist mir zu weit. Gib mir ein Pussel. Dirne (küßt ihn). Das ist mir eh das liebste, wenn ich einen gern' hab'! Soldat. Mir nicht. Nein, ich geh' nicht mit dir, es ist mir zu weit. Dirne. Weißt was, komm' morgen am Nachmittag. Soldat. Gut is. Gib mir deine Adresse. Dirne. Aber du kommst am End' nicht. Soldat. Wenn ich dir's sag'! Dirne. Du, weißt was – wenn's dir zu weit ist heut' Abend zu mir – da ... da ... (weist auf die Donau). Soldat. Was ist das? Dirne. Da ist auch schön ruhig ... jetzt kommt kein Mensch. Soldat. Ah, das ist nicht das rechte. Dirne. Bei mir is immer das rechte. Geh', bleib' jetzt bei mir. Wer weiß, ob wir morgen noch 's Leben haben. Soldat. So komm' – aber g'schwind! Dirne. Gib obacht, da ist so dunkel. Wennst ausrutsch'st, liegst in der Donau. Soldat. Wär' eh das Beste. Dirne. Pst, so wart' nur ein bissel. Gleich kommen wir zu einer Bank. Soldat. Kennst dich da gut aus. Dirne. So einen wie dich möcht' ich zum Geliebten. Soldat. Ich tät' dir zu viel eifern. Dirne. Das möcht' ich dir schon abgewöhnen. Soldat. Ha – Dirne. Nicht so laut. Manchmal is doch, daß sich ein Wachter her verirrt. Sollt man glauben, daß wir da mitten in der Wienerstadt sind? Soldat. Daher komm', daher. Dirne. Aber was fällt dir denn ein, wenn wir da ausrutschen, liegen wir im Wasser unten. Soldat (hat sie gepackt). Ah, du – Dirne. Halt dich nur fest an. Soldat. Hab kein' Angst .... Dirne. Auf der Bank wär's schon besser gewesen. Soldat. Da oder da .... Na, krall' aufi. Dirne. Was laufst denn so – Soldat. Ich muß in die Kasern', ich komm' eh schon zu spät. Dirne. Geh', du, wie heißt denn? Soldat. Was interessiert dich denn das, wie ich heiß? Dirne. Ich heiß Leocadia. Soldat. Ha! – So an' Namen hab' ich auch noch nie gehört. Dirne. Du! Soldat. Na, was willst denn? Dirne. Geh, ein Sechserl für'n Hausmeister gib mir wenigstens! – Soldat. Ha!... Glaubst, ich bin deine Wurzen ... Servus! Leocadia ... Dirne. Strizzi! Fallott! – (Er ist verschwunden.) |
SCENE 1
THE HOOKER AND THE SOLDIER Augarten Bridge in Vienna, late at night. Soldier (Comes in, whistling, on his way home.) Hooker Hey there, handsome. Soldier (Turns around for a moment, but continues on his way.) Hooker Wanna come with me, handsome? Soldier You callin’ me handsome? Hooker Of course. Who else? Come on, let’s go to my place. I’m close. Soldier Ain’t got time for that. Gotta get back into the barracks! Hooker Always time to get into there. I’m better than the barracks. Soldier (Getting close to her.) You might be right about that. Maybe. Hooker Shhh. A security guard could come by any second. Soldier Security guard? Don’t worry ‘bout that. I gotta big gun, too! Hooker Come on then, honey. Soldier Don’t bother me. I ain’t got money, anyway. Hooker I don’t need no money. Soldier (Reaches a streetlight and stops at a lantern). What’ll happen to you after we’re done? What kind of street-walker don’t need money? Hooker I pay the bills with other Johns. Handsome Privates like you always get me for free. Soldier Ah, I getcha. You’re the one Hank’s been goin’ on about. Hooker I don’t know no “Hank.” Soldier Yeah, you do. Remember, you guys met at that joint by the docks? And he went home with you? Hooker There’s been many guys at that joint by the docks. Many have come home with me, too. (Purrs) Ohhh . . . Ohhh . . . Soldier Alright then. Let’s go, let’s go. Hooker What? So now you're in a hurry? Soldier Well, yeah. What we waitin’ for? I gotta be back at the barracks at ten. Hooker How long have you been a soldier? Soldier What’s it to yah? How long to your place? Hooker Ten minutes by foot. Soldier Nah, that's too far. Why don’t you just give me a quick . . . kiss? Hooker (Kisses him.) That’s my favorite. ‘Specially when I really like someone. Soldier Not me. I’ll stay here. You’re too far for me. Hooker Why don’t you come ‘round tomorrow afternoon? Soldier Sure. Gimme your address. Hooker You’re not gonna . . . come . . . are yah? Soldier If I say I’m gonna come, I’ll come. Hooker You know what, if it’s too far tonight—let’s just go over there (points to the river) . . . there . . . Soldier What? Hooker It’s very quiet over there, no one’s gonna come around. Soldier Nah, that’s not a good spot. Hooker With me it’s always a good spot. Come on, now. Stay with me. Yah only live once, we might not be here tomorrow. Soldier Alright then, but let’s hurry! Hooker Be careful, it’s dark out. If you slip, you’ll end up in the river. Soldier Might as well. Hooker Shhh, just wait a minute. We’ll be at my bench soon. Soldier You know your way around, don’t ya? Hooker I’d love to have someone like you be my boyfriend, my man. Soldier I’m too jealous for that. I’d get into too many fights. Hooker Don’t worry, I can fix that. Soldier Ha-ha-- Hooker Quiet now. You’re being as loud as downtown Vienna. Sometimes a security guard wanders over here. Soldier Alright, so come on, now. Hooker Hold on. If we fall, we’ll end up in the water. Soldier (Grabs her.) Okay, you-- Hooker Hold on tight. Soldier I’m not afraid . . . Hooker The bench would’ve been better. Soldier Here or there . . . I still would’ve jumped you. Hooker Where are you running off to? Soldier I gotta get back to the barracks. I’m already too damn late. Hooker Wait, what’s your name, then? Soldier What’s it to yuh? Hooker My name’s Leocadia. Soldier Ha! Funny name—never heard of it. Hooker Hey! Soldier Well, what do you want? Hooker Can I at least have five bucks for a cab? Soldier Ha! What do I look like? One of your customers? Adios! Leocadia . . . (He disappears.) Hooker (After him.) Fuck you! Asshole! Translation Copyright Henrik Eger, 2014-2020 |
For the translations into English of scenes 2 to 10, please contact Henrik Eger (see CONTACT above).
