Masked in Music: Hidden Meaning in

&hnitz ler's Fr?iulein Else
Masked in Music:
Hidden Meaning in
Schnitzler's Friialein EIse
Cernv RaYvoNo
I ndi ana U niv e rs ity-
B I oomi ngt
on
Arthur Schnitzler had a cultivated relationship to music and
its significance in the cultural and social landscape of
siEcle Viennese society. His diaries are replete with references to
and musical events which illustrate the central role music played
Schnitzler's life. In addition, Schnitzler was a skilled pianist and was
to play a wide selection of symphonies and chamber music tra
for piano.t This affinity to music often reveals itself in his writing
ognized
subtle references to music and musical language. Close inspection of
references reveals the sophisticated interdependence of Schnitzler's
tural and social awareness.
Despite the abundance of musical allusions in Schnitzler's
and writings, however, surprisingly few studies have concentrated on
role of music in Schnitzler's life and works. One of the most interesti
of these to date is Marc A. Weiner's Arthur Schnitzler and the Crisis
Musical Culture, which concentrates to a great extent on
and social implications of music.2 Weiner's analysis examines Schni
relationship to music and musicians, and it illustrates how Schni
"psychological response to musical culture exemplifies the indivi
response to an art form charged with social tension in late
society."3 As Weiner convincingly argues, "Music for Schnitzler had
function of a psychological and social seismograph, a kind of
through which he interpreted both himself and the often complex
relations around him."a For Schnitzler music was not merely a
for social interaction, but a powerful and, more importantly,
medium for interpreting his world.
Other studies of music in Schnitzler's works have concentrated
more technical features: Joq lQreen's "The Impact of Musical Theme
Structure on the Meaning and Dramatic Unity of Selected Works
Arthur Schnitzler" focuses on formal parallels between music and
Monatshefte, Vol. 85, No. 2, 1993
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@ 1993 by The Board of Regents of The University of Wisconsin System
171
through an examination of such elements as themes and variations.s
; with Gerd_Schneider, Green has been among the few critics to
ine referenEFto music in Schnitzler's novella fiaulein EIse (1924)6.
their examinations, Schneider and Green concentrate primarily on
incorporation of musical excerpts from Schumann's CarAlthough they recognize ingenious parallels between the music and
inner conflict (taking into account such elements as dynamics and
sonant harmonies), both Green and Schneider present inand fragmentary analyses of the complex function of music in
n Else. Both critics see the excerpts as a musical chart of Else's
ical state and concentrate on each quote as an isolated entity.
ile it may be true that musical features intensify the effect of Else's
dilemma, I am convinced that Schnitzler's use of Schuis subtler and much more complex. At first glance the musical
ts merely appear to be static indications of Else's psyche. Upon
:r inspection it becomes clear that the music does not stop: a conion is established among Else's conflict, her psychological state, and
characters in Schumann's piece. The musical fragments serve as visual
ofthis connection for the reader.
In addition, the references to music in Frdulein Else are numerous
diverse, ranging from the direct incorporation of musical notation
the novella to the use of ambiguous "musical language" (i.e., such
tendres as "klingen" and "Spiel") which constitutes part of a
narrative device. When examined more closely, however, these
s to music are not in fact references to music as such: rather,
itzler uses music to evoke extra-musical issues. In this essay, I shall
the many functions of music in Frtiulein Else as they relate to
general dynamics of the novella.
Schnitzler's novella Frtiulein,E/se presents the intricately woven tale
a young woman's psychological dilemma.? While vacationing, Else
ives word from her mother that her father is in a financially precarious
. In this letter the mother pleads with Else to ask the rich art
Dorsday for 30,000 gulden (later raised to 50,000). Dorsday agrees,
the condition that he may view Else's naked body for a quarter of
hour. Torn between saving her father and preserving her own honor,
struggles with various solutions. After considerable deliberation, she
fies Dorsday's request and disrobes in a room full of people. Shortly
', Else takes her life by swallowing a fatal dose of Veronal.
Frtiulein,E/se has offered numerous levels for interpretation. Some
for example, have chosen a Freudian reading by assigning attriof hysteria
to Else's actions and thoughts or claiming that her be-
is the result of an Oedipal complex.s Others have focused instead
172
s Friiulein Else
Raymond
on socially critical aspects which present the dynamics of a society drivo
by materialism and based on empty conventions, which in turn
the quality of personal interaction. William Rey discusses the mechani
involved in such a society, and characterizes Dorsday with the
Er ist der Repriisentant nicht des Vaters, sondern der spiitbiirgerlichen
gesellschaft und ihres Marktgesetzes. Mit Dorsday tritt das Schicksal
Else heran, insofern als Kaufen und Verkaufen eine Lebensnotwendi
dieser Gesellschaft darstellt.e
Rey goes on to describe Else's decision to modify Dorsday's sti
by disrobing in a room full of people in socially critical terms:
Aber durch die Modifizierung von Dorsdays Bedingung bewahrt sich
nicht nur ihre Freiheit-sie geht auch zur Offensive gegen die
tiber. Ihre Selbstenthtllung in der Offentlichkeit ist gleichzeitig eine
hiillung des Marktgesetzes. Indem sie ihre Nacktheit dffentlich
prangert sie die totale KAuflichkeit als das Prinzip dieser Gesellschaft an
Reinhard Urbach also adopts a somewhat socially critical position,
ing society and its moral code responsible for Else's death.t'
The issues emphasized in the various readings of Frriulein Else
highlighted by yet another set of indices for interpreting Schnitzler's
namely, his various references to music. The many allusions to musici
Frtiulein Else act as a type of narrative filter which disguises a nu
of subtle and complex issues behind a socially acceptable medium of
cultural nature. Schnitzler's careful selection of double-entendres, for
ample, which possess both musical and non-musical meanings, hides
sexual and socially critical dimension behind ambiguous language.
addition, Schnitzler addresses the social function of music in Else's
lieu: through subtle narration disciplined practice often becomes li
with notions of sexual repression, and music is also portrayed as a
means of association with the upper levels of society. The most obvi
use of music appears at the climax of the novella, where excerpts
Schumann's Carnaval are ingeniously incorporated into the text,
viding the background for Else's actions. Here Schnitzler establishes
direct relationship between the music and Else's thoughts and acti
the music underscores the superficiality present in Else's society by
ing her true thoughts (her desire for revenge and her confusion)
actions (her intention to disrobe) behind an acceptable representation
her dilemma (Schumann's Carnaval, with its connections to her s
As the music stops, the mask which cloaks Else's internal dilemma
removed, and she disrobes, revealing her true thoughts. The people
the music room are then forced to acknowledge Else's state, and
music, which has served as the acceptable representation of this
becomes unnecessary.
173
to the role of Carnaval in Schnitzler's text, it is
ile to explore Schnitzler's relationship to Schumann. Although
e evidence exists that Sc,!1g!r_&{geEg{L&Sgru could parallel
admiration of Mahler and Beethoven,ri his?il-ries rweal countless
to musical eveffiS?ffi'Gcasions which featured Schumann.rj
entry from 1884 also attests to his familiarity with Wasielewski's
of Schumann. In this passage, Schnitzler relates extra-musical
to Schumann's music, and his great admiration for the comBefore turning
Ich lese die Wasielewski'sche Schumannbiographie und spiele nun fast aus-
schlie0lich ihn. lch schwiirme fiir ihn nun einmal ganz und gar. Jetzt spiel
ich, recht i propos den Faschingschwank aus Wien. Dies bringt mich auf
mein persOnliches Leben und den ersten Ball in diesem Jahre, den ich
besuchte... . Fdnnchen war dort und erkldrte mir, sie werde noch an mir
zu Grunde gehen. Es spann sich impertinent lebhaft weiter zwischen uns
und schloss oben auf der Galerie um drei Uhr Morgens unter st8en, heiBen
K[ssen-"Wie ich mich gesehnt habe, dich wieder zu kiissen" sagte sie.Auch Gisela F. war dort . . . und auch mit ihr weilt' ich eine Zeit lang auf
der Galerie und auch ihre holden Lippen kiisst ich mit charakterloser Innigkeit . . .'o
entry illustrates a specific event ofpersonal intrigue in Schnitzler's
which Schumann's music evokes for him. In a passage from 1885,
itzler again describes a ball and a similar romantic scenario, conthat the incident would be best set to music by Schumann.15 These
indicate that literary or personal associations with Schumann's
ic were not uncommon for Schnitzler.
in mind, it seems fitting that Schnitzler should choose
to cloak extra-musical associations in Frdulein EIse. Carnaval
a collection of brief character pisgqs whose literary associations are by /
r rneaiilim'itia-t6-ifia*Vi-viEl-uges of a masked ball conjured up by
title. When Schumann composed this piece he was in love with Erine von Fricken from the city ASCH, and many of the pieces are
rd on these letters, which correspond to the musical notes A flat (As l<German), C and B (H in German), or A, E flat (Es in German), C andJ
The letters are also present in SCHumAnn's own name; throughout
these notes mask musical messages of love which connect SchuBearing this
zval
and Ernestine.
of the character pieces are also based on real people (e.g.,
Wieck, Ernestine von Fricken, and Chopin) while others represent
from the tradition of commedia dell'arte (e.g., pierrot, Harlequin
Columbine). Two of the figures, Florestan and Eusebius, are Schuinventions and are based on the Doppelnatur theme from Jean
Some
: Florestan may be characterized as jealous, extroverted and pro-
/er s
174
Florestan and Eusebius often surface in Schumann's music (e.g., as
arate character pieces in Carnaval and as associated figures in
bilndlertrinze), as well as in his essays and musical criticism. He
saw them as his own "double nature,"rT and often used them as
donyms to present his sometimes contradictory musical opinions.
to literature and literary motifs often appear in
mann's music: much of his music originated from verse or was
References
given programmatic titles. Schumann himself characterized Carnaval
an unfolding literary adventure which was represented by music:
ist ein humoristischer Maskenrornan, in welchem au0er dem
Gesichte des Harlekin, Pantalon, der Colombine auch bedeutenderc
Gegenwart, wie Chopin und Paganini, in fltichtigcn musikalischen
sen zum Vorscheine kommen; dazwischen sich ein Abenteuerzu entwi
scheint. wie die Namen anderer Stiicke anzudeuten scheinen.18
Es
With the above in mind, it seems logical to assume that Schni
fascination with Schumann was partly literary in nature. In Frtiulein
Schnitzler successfully applies Schumann's approach and captures "i
experience . . . in musical character."re Through his use of
Schnitzler ingeniously capitalizes on the images of the masked ball,
well as the tale which develops in Schumann's music, to highlight
i
lr
I
175
real state of mind is hidden from the others in her world; trer]
a is literally masked in music.
This section of the novella begins as Else reaches her decision to
a modified version of Dorsday's stipuration and begins searching
vocative, while Eusebius has a dreamy and calm nature. Schumann
self describes these figures with the following:
Florestan ist einer von jenen seltenen Musikmenschen, die alles Zu
Neue, Au0erordentliche schon wie lange vorher geahnt haben; das
ist ihnen im andern Augenblicke nicht seltsam mehr; das U
wird im Moment ihr Eigenthum. Eusebius hingegen, so schwiirmerisch
gelassen, zieht Bliithe nach Bliithe aus; . . . dann ist auch sein
slrenger und sein Vortrag im Clavierspiele besonnener, aber auch
und mechanisch vollendeter, als der Florestans.'6
Friiulein Else
approaches the music salon, where the strains dfs"hu-"nn'i
reach her ear, and the first musical excerpt is incorporated
into
. She
text:
Here it is obviously important to Schnitzler to evoke not only
Schup€r se' but to refer to this specific passage laden with
l
extra-musical
iations. This musical example is extractJd from the .rruru.te, pi.."
!ory{ln," and is the first of three such fragments in Schnitzler's text.
F6ffirogical rhat rhis musical quote shorild be the first to rrigtrtieht
inner state: Florestan isJlleJnost sensugl of SchurLann,s .6oprie]_
qggres, and he represents the side of Else which
may not be ex_
openly. Because sexuarity is disavowed by her socilty unress it
within official institutional norms, the apiearance of -Else's sexr musl be replaced by the acceptable surrogate
of music.
Another subtle and significant aspect of schnitzler's use of ..Flois the musical quote from "papilrons" (an earlier piano work
of
nn, op. 9), which is "hidden', in the first four measures of ..Flo_
inner state.
I
I
I
i
I
i
I
;l
'ii
'i
i
I
I
\
This brings us to the most obvious use of music in Frriulein
where Schumann's music is set in the text. In his novella, Schnitzler
not quote the entire Carnaval, but rather
tbgjlgrt-pgggs.
the reader is only aware of three visible indications that the piece is
played, the music does not stop, nor does its relationship to Else's i
conflict and her stream of consciousness. A connection between
story and that of the figures in Schumann's musical tale is esta
with the reader directly perceiving Else's state of mind (through
stream of consciousness), while the people in the music room arc
knowingly exposed to her thoughts and emotions through the
while "Florestan" hints at Else's Doppelnatur and her sexuality,
the
lons" quote intensifies the thematic motif of a masked bau. Scnubased "Papillons" on the "Larventanz" in Jean paul's
Fleoplinhre
Paul's Flegeljahre,
ining to his mother in a letter, ..dao die papillons di";;;
in Tone umsetzen sollten. . . .zo Schnitzler very cleverly uses
section of "Floresta'" which briefly quotes ..papill,ons"
u, u pi"ion: Else's Doppelnatur-that is, her simultaneous desire for inilu-
;;;;;i;;;;
Xl
zler's Frdulein Else
176
":p'
sion in and rejection ofher society, her desire to save her father's
while at the same time wanting to protect her own-reaches a crisis
this section of the novella. She can no longer repress her inner
and is forced into an Entlarvung not only of her self, but of the
conventions in her society as well.
Else's agitated state is further illuminated by the erratic
changes in the first excerpt. The "Papillons" quote itself is a lyrical
marked by Adagio, which lasts for only four measures; it is only a hi
a premonition of what is to come. Soon the original restless "
theme returns. Further tension arises as the right hand figure, which
constructed around the most tensionJaden and dissonant of musical i
tervals-the tritone-clashes against the D in the bass.2r
As this passage continues, Else catches sieht of Dorsday in the
salon. She then reflects on the musical abilities of the pianist as well
her own compromising situation and notes that Dorsday has still
seen her. At this point Schnitzler inserts the second musical
177
the pianist continues to play. As Else "makes eyes" at Dorsday,
elte" is being performed. It may not be apparent to the reader, bui
rclationship between Else's stream of consciousness and the music
exists. If the reader is not familiar with Schumann's carnaval, s/he
not be aware of the connection to Else's inner dilemma, just as the
to Else's
thoughts, the music transforms her conflict into an aclable representation of it. Else herself is familiar with carnaval
and
even played the piece herself "schumann? Ja, Karneval . . . Hab'
ich
studiert" (371). Else's familiarity with carnaval makes it
l more likely that the relationship between Else,s thoughts and the
r einmal
are no accident.
Else then receives a non-verbal response
from Dorsday:
Ha, er schaut auf.. .. Was fiir Augen er macht. Seine Lippen zittern. Er
bohrt seine Augen in meine Stirn. Er ahnt nicht, daB ich nickt bin unter
dem Mantel. Lassen Sie mich fort, lassen Sie mich fort! Seine Augen gliihen.
Seine Augen drohen. (372)
functions as a "reply" to
funcrion as a :'.repry"
"Coque@To top.-dg_eorlday's move_
tgffionslffi
iEGTyes,
In this excerpt the rhythmic activity of the "Florestan" theme
more closely connected with thematic elements from "Papillons."
addresses this interplay of dissonance and lyricism:
In contrast to Green, however, who claims that this passage "
the accompaniment to Else's recovery from her shock and her awa
that Dorsday has not seen her yet,"23 I argue that this passage is
more to Else's increasing conflict: just as thematic elements from
restan" and "Papillons" become intertwined, so too the extremes of
Doppelnatur increasingly come into conflict and she moves closer to
Entlarvung.
Schnitzler's text progresses, and Else tries to attract Dorsday's
tention by flirting with him: "Ich will ihm nur ein Zeichen mit den
geben, dann werde ich den Mantel ein wenig luften, das ist genug"
Although Schnitzler does not quote the next character piece from
e,r#
ile in the music room will hear the music and not be aware of the
ection to Else's thoughts. while schnitzler's text acts as the reader's
ie musical counterpart to this, which is the next piece in the set (but
again not quoted by schnitzler), is "Replique." Just as this character
The second more lyrical fragment begins with a sharp though t
dissonance in the third beat of the first measure (an interval of a
9th) which is pleasingly resolved in the fourth measure, although the
melodic line and the dynamic markings anticipate the increasing exci
forthcoming in the narrative development.22
lft ,-
she notices
the "Romerkopf," a representative for Else of sexuality
in the music room:
I eroticism, sitting
D91 irn Fauteuil-Herrgott, im Fauteuil-das ist ja der Filou!
...
Er ist
wieder da, er ist wieder da! Er war nur auf einer Tour! Jetzt ist er wieder
da. Der Romerkopf ist wieder da. Mein Briiutigam, mein Geliebt er. (372)
f labeling the "Romerkopf' as her "Briiutigam" and "Geliebter," Else
ttales a. socially pse^udo-acceptable situation in her mind,
thereby achieva false sense of security. Else's true state is also disguis.i b"hind
carance: even though she is still "externally" morally atceptable (she
rcaring only a coat, but the people in the music too- at" oblivious
her nudity), Else is secretly enjoying her naked body: ..Kostlich rieselt
durch meine Haut. wie wundervoll ist es nackt zu sein', (372). She is
ta
l<uyilt1tu;
t78
attempting, as she has throughout the entire novella, to bring the tso
sides of her Doppelnatur togelher. Although Else attempts to belong i
her society, she is unable to dispel thoughts of indulging in sensual
sures completely. She is attracted to a disreputable man, and enjoys
sexuality too much to repress it.
The music, too, has not yet stopped. During this time the
has probably been playing the character piece "&P@"zr (This doc
not refer to the earlier piece by Schumann, but is rather a part of Car:
naval.) Since this piece does not sound much like butterflies, it has
suggested that Schumann's intention may have been to evoke the i
of "people at a masked ball costumed as butterflies."25 As previ
mentioned, Else's actions and thoughts at this time are consistent
the image of a masked ball: she not only justifies her sexual attracti
for the "Romerkopf' by naming him her "Geliebter," but is also
vinced that she will be able to retain a modicum of self-respect by
robing publicly instead of only for Dorsday. The music reflects the j
tifications which Else wears as a mask.
The next piece in the cycle, which is reflected in Schnitzler's
is
bUt not qrrntcrt directly, is entitled "Lettres dansantel," and plays
the letters A S C H which constitute the basic construction of
This character piece, as well as the next which Schnitzler does
could be seen as an ironic gesture on Schnitzler's part. In "l-ettres
santes" Schumann playfully hides messages of love in a musical
Else's and Dorsday's masked messages to each other at this point
anything but true love; sexuality for thern is only a bargaining tool:
Verstehen Sie meinen Blick? Sein Auge spricht zu mir: komm! Sein
spricht: ich will dich nackt sehen. Nun, du Schuft, ich bin ja nackt.
willst du denn noch? Schick die Depesche ab . . . (372)
The next character piece which Schnitzler quotes is "Recon
sance":26
a
-
khnitzler's Friiulein Else
179
Here Schnitzler seems again to want to stress the irony of Else's
ment. Schumann himself referred to "Reconnaissance" as "a lovDeeting."zz Else has no lover. Her sexuality has been reduced to a
ity which she can at best glori& in her fantasies of the "Filou"
images of the "Marmorstufen am Meer." The use of "kttres dan," as well as "Reconnaissance," highlights Else's dilemma and exher society. Else's mask and the mask of her society are a sham;
is no true love here, only sexual bargaining.
In contrast to my argument, some critics see "Reconnaissance" as
descriptive, rather than ironic gesture on Schnitzler's part. Where I
the characterization of "Reconnaissance" as "a lover's meeting,"
concentrate instead on parallels between the musical polarity (a
melody contrasted by a staccato accompaniment pattern), and a
ing polar tension in Else (between her feelings of shame and senty) which leads to her "Demaskierungsbestreben."28 Although tech-
tiel features play an important role in the portrayal of Else's state, they
not the most significant aspect of this excerpt. By recognizing neither
continuation of music, nor its eventual absence at the shocking conof this scene, some critics interpret "Reconnaissance" as an acniment to Else's "Demaskierungsbestreben." This is, however, prere. The significance of this excerpt lies not primarily in musical
to Else's "Enthiillungsakt," but rather in the irony of her claim
the Filou is her lover. Else's act is accompanied not by "Reconissance," but rather by the absence of music itself. One critic even
the textual passage of Dorsday's and Else's "visual dialogue,"
I have paralleled with the character pieces "Coquette" and "Rep"2e If one were to accept this argument, it would imply that the
is not played continually, but rather only at those times when it
in Schnitzler's text. This would not only make Else's frequent
to the music (even where there is no excerpt in the text) inible, it would also underestimate the subtlety of Schnitzler's
innovative use of Carnaval.
"Warum
rrum ist denn keine Musik mehr?" (373) Else asks. Once shJl
shel
the music is no longer necessary. Until this point, the peopleJ
lhe music room have been provided with a culturally acceptable rep
ion of Else's internal state; once Else publicly reveals her psydilemma (by disrobing), the necessity for this external symbol
rcmoved. The audience of listeners is forced to acknowledge Else's
tion, while the audience of readers must acknowledge the matenic nature of a society in which everything, including sexuality, has
reduced to a commodity. Had Else been able to accept the convenof her society, she would have disrobed for Dorsday alone. In an
mpt to retain an element of freedom within the boundaries of their
lt -tf,
/
3 Frtiulein Else
180
"pact," Else undresses publicly, revealing not only herself, but
sequences involved in a society driven by materialism.
18I
her father's predicament and notes "wie
merkwtirdig meine
: klingt' Bin das ich, die aa reoeti..-.
tctr'trabe
jetzt
the
gewi8
ganz anderes Gesi cht ars son
sr"
r
as
_(3+ ).
: makes the same observation--"1O9ira"VJr-rroi.",
,,Wie
seine
' ' ^v rurrw
l. panz anders, merkwtirdig-
auch
ttret"""*iii"" ri.Jr."l*.,
(343).
While references to Carnaval provide a dramatic dimension in
narrative, they are not the only examples of Schnitzler's use of music
the novella. The same issues explicated in the discussion of
reemerge on another, linguistic level-that of the double-entendre.
zler employs ambiguous words which possess both musical and
musical meanings and act as clues to the reader; through them, a
dimension is evoked even as language masks it through socially
able attributes. In turn, the tension between sex and culture is
in the ambiguity of Schnitzler's language.
One example is the word "klingen," which is first introduced
Else asks Dorsday for financial assistance. In the course of the
sation Dorsday explains the terms of his conditional acceptance, and
verb "klingen" enhances the sexual tension which arises at this m
Although he does not directly link Schnitzler's use of "klingen" lo
growing tension between Else and Dorsday, Jon Green also senses
connection between "eroticism" and "sound" in Schnitzler's la
cahp;lted inio the compromising predicament
fl1::*:lt1.l._dly
in a financiaui ,up"rior porir;;ffiil;;:fi:T:fril"fi:
asking a man
suooiniy u nable o escape acri ng
n::,T:-":1_"j':'.:i::"?
manner of which srre is so
i;;i,H;
n
trT;;;;ilTill
"i
lil:":",::"-T'-'l$l:Y!:y:."r'"not*iiateitrrerrrerorDorsday,s
f€ "klingt," she also notes either u" ob;;;;;;;;ft;;'.?ffi#
:::Hr:i:-h"1:y
.or "n.element of playacting. When a voice
," it is conforming ro
sociat
;JT:
"*pr"r;J"J;ffi;:i";;::
r^:l
th;i'
;l
J
t
have
ein
nz
lS, further
:.*"ti;;a;r;;;;il'iorffi-i#':#i:
:slif::iT":','"1.^
Gesicht ats sonst"
";
m us
..
i
ga
is p:rhaps suJe#ciar sr's
and rvrwr6'
roreign to
rt' rrsr'
her,
i"T::i::,ylih
in her dealings with Dorsiay. --------'
This observation caises EIse i;l;o-.
serf-criticar, and she atto modify
TE;:
strategic
her behavior:
l:h
mich wiirdiger benehmen. ..Nun, Herr
von Dorsday, jetzt hdtten
ni.
vater zu beweisen.,, Gott
Dank, ich habe meine alte Srimme 'nli*n
*i"C.r.i:qZl
T$
Sie Gelegenheit, Ihre Freundschafr
sei
designs toward Else. This seductive power of voice tone suggests an
type of extra-verbal meaning that has "musical" overtones.ro
ety's materialism and the position of power which monetarily
persons occupy. I also argue that Else possesses a level ofcritical di
towards her society's methods of interaction. Schnitzler's choice
gen" is part of his technique to use music symbolically; his use of
musical verb signifies not only eroticism, but also a level of
on Else's part towards the strategic interplay which occurs between
and Dorsday.
Else's awareness of this social superficiality causes her to be
reflective in her personal dealings. Despite her moral protests,
Else is part of this society and is forced to "play along" in orderto
her father. In introducing her request for money, for example, Else
r
|-||',
superficial
A frequently recurring motif which relates eroticism to sound is the
alteration in Dorsday's voice inflection when he begins to betray
I agree with the basic premise behind Green's argument, but wanl
expand on it. "Klingen" is used as a description of the "tone" of
which Else attributes both to Dorsday as well as to herself. While it
be a common verb choice for description of a response, Schnitzler
cleverly chooses an ambiguous verb possessing both musical and
musical meaning, which in this context takes on symbolic connotati
Its use coincides with Else's expression of resentment towards her
Stimme
er'r'rrE
r's
voice
"klingt nicht mehr."
:
She realizes that she has been
exhibiting
i. g ;Ldi."rn.n, and attempts
*lilT:".1n,
::::9,.1:.T and1",.,",",
modifv
her superficiaritv
aear *iirr oolsaav
-;r;;;;;til--''pts
uyli" his. Rosition oi rup.riority
and exploits it
,13?11111
.of
the futest :'_l]::
extent. The_ first
time irse ;;;;"rh"i"ffi:ffi,:'X::.tJ
h
o.i io*"' nd becomes apprel*.' As
i1',their
nil:'^'-3:*:r
conversation 1yu'*"'
progresser, it appearl;;;;,"?;"ff;
a
#'11'H,:::t'-T:.'y3111'91,1-:;T;iliiiln.nc,asErsenores,
Stim
me'kt i ngr' n icht mehr,, (34sJ.
iiJ;;ffi; ri*J.i,t,i',ilT?
"*:: :? i
; :h :1"1.-if
_hi, "9i
wants somerhing
from EIse,
and
9",i,r,i.r,
it
rn
ur",
her uneasy. Dors_
;;;;;;
ilffiilaiitr",
rn"r,r.'bd",
vevr s.surr:
anders! wie
YYrs srcrll
sieht er
er
l,r::-"::',":::iTT:
Fingt;nicht
an? Er soll acht geben!!" (34t--^'
_denn
f
l:l
itf *#t,t:t.:..*::,
off in quorarions
a
only carefulrv r.i.., rhe verb ..klingen,,;
he arso
ar- one poini, fr,1h.;;;;nrri,#'llrtililH;
ir";'ilifi;ch
ications' In a reply to a letter
number of points in rhe nove'u,
r o a1n
.
lT'. _'".:1,,.
1'
nehmen,
wohl lf_.
durchff1,r
die sinntiche
"?l
seiner Stimme."3r
stowlv
s;h;itr;
asking for clarification
himserf expr"in.a'lit
L"iui r r"n u n nar rirl ichen, u n_
"i*
E."dil;;;;;;;;";il;;il""
n'
Raymonil
182
Two further double-entendres which Schnitzler employs are "B&
gatelle" and "Spiel." As with his choice of "klingen," Schnitzler
makes use of ambiguous words which act as clues to the reader.
two words first appear in a letter Else receives from her mother. In
context reference is made to an earlier debt of Else's father, which f
day also paid, as a "Bagatelle"-a "ldcherliche Summe.'' Else's t
muk.r tight of the amount of money needed to clear the father's
Although seemingly critical of her mother and her demands, Else
utilizes this word strategically when speaking with Dorsday. In her req
for money, Else explains to Dorsday that it is "wirklich nur ... eil
Bagatelle . . ." 134t;. By verbally minimizing the amount needed as
"Bagatelle," Else hopes to convince Dorsday simply to hand her a cl
As she and her mother are also both aware' "[alles steht] auf
Spiel" (341). If Else does not "play" the game correctly, she could
danger her chances of receiving money from Dorsday. In her request
Inon"y, Else begins by telling Dorsday her father needs a million gu
rathei than the real sum of 30,000. Although it is not immediately
to her why she exaggerates the amount to this extent, it does not I
long for her to realize that it is a tactic similar to her mention of
"Bagatelle":
". . . Eine Million." Warum sag' ich das? Es ist doch jetzt nicht der
zum Spassen? Aber wenn ich ihm dann sage, um wieviel weniger es
Wirklichkeit ist, wird er sich freuen. (342)
;j
&:.
ij,l
;rl
L
l,l,
i'l
i'l
$t
t." I
iril
ir'i
li lII
u;l
kt
if,l
*'l
drl
l
il1,
iit
:l
Like her verbal minimization of the quantity necessary to save her
Else now exaggerates the sum with the hopes that the actual amount
seem a "trifling matter."
Dorsday is also aware of the importance of the "Spiel" and
not remain oblivious to Else's verbal tricks. He even uses Else's
tactics at one point, underscoring his advantage. In presenting Else w
his counter-demand, Dorsday too exaggerates the amount, expressing
Else his desire for sexual union. As he senses Else's repulsion and rej
of his offer, Dorsday modifies his request, just as Else had modified
Verzeihen Sie mir, Else. Auch ich habe einen Scherz gemacht, geradeso
Sie vorher mit der Million. Auch meine Forderung stelle ich nicht so
als Sie gefiirchtet haben, wie ich leider sagen muB,-so da8 die
geri
Sie vielleicht angenehm tiberraschen wird. (346)
As the novella progresses, Else refers time and again to the necessity
her playacting to obtain money from Dorsday. Else, however, is not a
to accept readily the unwritten rules of interaction in her society. In
attempt to fulfill Dorsday's stipulation in her owrl tcrms, she chooses
expose herself publiclY.
khnitzler's Friiulein Else
183
Just prior to what Else herself refers to as her "gro8e Vorstellung"
, Schnitzler sets up yet another reminder of the necessity of Else's
"performance." Shortly before entering the music room, she
the curtain: ". . . Da ist ja das Spielzimmer. Grtiner Vorhang vor
T[r" (371). The color of the curtain reminds the reader of an earlier
where Else expresses resentment ofher family's insecure financial
"Da hdngen die Kleider im Kasten! Ist das grtine Loden iiberhaupt
bezahlt, Mama? Ich glaube nur eine Anzahlung" (334). Even Else's
dress has not yet been paid for and the color ofthe curtain to the
ielzimmer" reminds her of her family's financial predicament. The
of Dorsday's stipulation remains Else's only chance to save
father's honor.
This "Spielzimmer" is itself not only a music room, but also a game
there are tables where one can play whist, cards and even gamble.
lhe "Spielzimmer" all the elements of Else's dilemma are brought
not only has Else been forced to "play" verbal games with
, the "playing" of Schumann's Carnaval in this "Musiksalon"
the background and external symbol of Else's internal dilemma.
Frtiulein,E/se also deals with the social function of music in Else's
In her society, the ability to play the piano is viewed as a social
te; the
is
cultivation of this skill through practice implies discipline
strongly encouraged. When examined more closely, however, seem-
innocent comments regarding such "expected skills" are subtly
with notions of sexual repression and the superficiality of fin-deViennese society. The people in Else's society do not have a very
understanding of each other and even the most serious topics are
with extreme levity. Else recognizes this in the implications of
playing:
.. . zu Hause lernt man Klavier . . . Aber was in mir vorgeht und was in
mir wiihlt und Angst hat, habt ihr euch darum je gekiimmert? (356)
This theme emerges again in the climax of the novella: as Else's
increases, so does her resentment of the woman at the piano as
who has adopted the conventions of her society: "Die Dame
weiter, sie weiB nicht, was hier geschieht" (372-73). The pianist
dutifully learned proper social behavior, and in doing so is oblivious
the problems which surround her.
A further example of Schnitzler's use of the piano to evoke nonical issues may be seen in Else's stream of consciousness after taking
Veronal. "Sie sollten mehr Skalen riben, Else. Ein Mtidel mit dreizehn
sollte flei8iger sein" (380). Else's sexuality was developing while
184
Raymorl,
she was thirteen years old, and this comment functions not only as
reprimand for bad practice habits, but also as a warning that Else shou
,"p."r. her developing sexuality. Further evidence of this is given in I
leiter which Else receives from her mother requesting that she speak
Dorsday. Here Else's mother makes reference to Dorsday's attraction
Else and her blossoming sexualitY:
"Dich hat er [Dorsday] ja immer besonders gern gehabt" -Hab n
davon gemerti. Oie Wange hat er mir gestreichelt, wie ich zwolf oder
zehn Jahre alt war. "Schon ein ganzes Friiulein'" (330)
Dorsday is aware of Else's sexuality, and as her sexuality develops, I
demanis for repression emerge from her society. This repression is
sically characterized by disciplined practice.
Music is also an aesthetic emblem ofa frustrated bourgeoisie
association with the upper levels of society through culture; Else ol
mentions music in conjunction with her attendance of lectures on
history and her study of French. As Else hears Schumann's music cor
from ihe salon, she successfully identifies it and remarks that she has
studied Schumann's Carnaval. At this time Else briefly associates
with the pianist who she assumes is a woman, possibly even a vi
(371). Th; connection between Else and the pianist is quickly
ho*elr"., when Else realizes how well the woman plays:
Ich habe nicht gewuBt, daB sie so sch6n Klavier spielt. Sie hat es gul.
Menschen haben es gut . . . nur ich bin verdammt ' ' ' (371-12\
Here Else appears resentful of the pianist, drawing an association betw
musical auitity and social prestige. This female pianist has achieved
status of virtuoso, a level of proficiency which allows her access lo
superior social status. Marc Weiner's comments regarding the role ofd
female virtuoso in Schnitzler's works are enlightening:
As virtuoso, she embodies the desires of the bourgeoisie for indivi
and is thus freed from the ideotogical compulsion to succumb as the
do. Usually the social and sexual victim of convention, the w'
virtuoso belongs to the sphere of upper society; her social assim
completed as ideology dictates, and she assumes the powerful role oth
reserved for the men of her society. Musical prestige brings with it
and sexual power, regardless of the sex of its bearer'r2
itzler's Fr?iulein Else
occasion
/85
to utilize her strategic "education" as a tool to achieve fi-
SUCCCSS:
Also ich werde mich in die Halle setzen, groBartig in einen Fauteuil, schau
mir die Illustrated News an und die Vie parisienne, schlage die Beine iibereinander,-den Ri0 unter dem Knie wird man nicht sehen. Vielleicht ist
gerade ein Milliardiir angekommen. (336)
displays herself as a sales item, exhibiting her education (she can
English and French) which allows her access to socially superior
and hopefully waits for a billionaire to arrive. She assumes, of
that no one will see that she is an imposter ("den RiB unter dem
waiting for her chance to join ranks with the financially endowed.
lhis context, her remarks regarding her impoverished music-making
particularly enlightening.
Else also believes that an injustice has been done. She believes she
have been born into a higher class, or even into the nobility: "[Ich
auf die Welt [als sporting Girl, in England, oder als Griifin] komsollen" (334). Else, however, is part of the bourgeoisie, enjoying little
advantage, and cannot escape her inferior position. She is locked
this position by her father's perpetual financial insecurity. As they
the opera, her father's blank expression highlights the family's into associate with the upper levels of society. Finding himself in a
ion which only underscores the fact that he is out of his social sphere,
father temporarily loses his "mask":
Und der Papa ist dabei immer gut aufgelegt. Immer? Nein. O nein. In der
Oper neulich bei Figaro sein Blick,-plbtzlich ganz leer-ich bin erschrokken. Da war er wie ein ganz anderer Mensch. (332)
tzler's last reference to music appears at the end of the novella as
approaches her death. This music is no longer associated with a
composer: it is a music of the spheres, which refers to a religious
harmony in which everyone has a logical, consonant place. It
a bitter irony that Else is only able to achieve this "harmony"
her death. Only with the taking of her own life is she able to
along":
In contrast to the pianist, Else's repeated references to her own mus
Was ist denn das ? Ein ganzer Chor? Und Orgel auch? Ich singe mit. Was
ist es denn fiir ein Lied? Alle singen mit. Die Wiilder auch und die Berge
und die Sterne. Nie habe ich etwas so Schdnes gehdrt. (381)
(i.e., the means to associate with the upper levels of society), Else
Here Else is released from the tribulations of her life, but only
her own death. Schnitzler seems to refer to "music of the spheres"
ly, rather than seriously: the utopian counterpart ofElse's ethically
abilities, which shJ considers mediocre, highlight her frustration_ that
is no virtuoso and thus doomed to a limited association with the
levels of society. Despite her own belief that she possesses no "1
186
Raymond
impoverished and cacophonous world is only accessible to her
the renunciation of life itself.
through
's
-runarery
Friiulein Else
came
187
lo mv allentiorr
r3j: to_incorporate ir into my articre: Marrin
Huber,
lT- im narrati*i
iii ia*bsischen
::!,y::!;{;::!!:::!f,?:.,:hen
ausgewrihtter Erzrihttexte des 20. rahriuiariiiiiiii;irir;i';:.i;., Funktionszusam_
i;X;"ii:rTi#_
Arthur Schnitzler recognized music's central role in
Viennese culture: his sensitivity to the social implications of this art
and familiarity with music presented him with the ideal metaphor
interpreting complex issues. His writing is filled with references to
which sometimes serve to cloak difficult subjects in an acceptable
dium.
The significance of music in Friiulein Else is undeniable: laden
extra-aesthetic associations, music acts as a mirror which reflects
plicated social and psychological tensions. Perhaps the most difficult
sical reference to comprehend, the excerpts from Schumann's
are intricately connected to Else's unfolding drama. The music and
thoughts are inextricably linked and serve as parallel indices of
growing struggle. The musical excerpts provide the people in the
room with the illustrative and, more importanlly, continuous
iment to Else's growing struggle, which the reader experiences by way
her thoughts.
In order to understand Frdulein E/se fully, the reader must be
of the complicated interdependence of Else's drama and the
absence of music. Unlike the reader of Schnitzler's text, however,
is at least equipped with Else's thoughts as an indication of her ps,
logical state, the characters in the music room are at a greater di
tage: they are made aware of the developing drama only lhrough
music. As if the truth of Else's struggle would be too much for the
acters in her milieu to bear, the music veils her dilemma in an
form. As Else disrobes, this representation of Else's state is no
necessary: the people in the music room are forced to acknowledge
state when the mask of music is removed.
tArthur Schnitzler: Sein Leben, sein lVerk, seine Zeit, ed.s. Heinrich Schnitzler,
stian Brandstiitter, and Reinhard Urbach (Franklurt a.M.: Fischer, l98l) 94-95. See
note
13.
2Marc A. Weiner, Arthur Schnitzler and the Crisis o.f ,\Iusical Culture (
Winter, 1986). See esp. l9-23.
3lbid. 12.
4lbid.16.
rJon Green, "The Impact of Musical Thcme and Structure on the Meaning
Dramatic Unity of Selected Works by Arthur Schnitzler," diss. Syracuse U,1972.
6lbid. 157-66. More recently by Green, "Music in Literature: Arthur
Frdulein Else," New l'ork Literary Forum l0-ll (1983): l4l-52; Gerd Schneider,
und Schriftsprache in Schnitzler's Frtiulein 1jlsc und Schumann's C'urnaval," Modern
trian Literature 2.2 (1969): 17-20. The most recent analysis of music in Frdulein
tArthur schnitzrer'
G esam merte vI/erke, Die erzdhrenden
schrifren(Frankfurt a.M.:
r, 196l) 2: 324-81. AII referr
rrayteil
are parenlheii".ilit" i-hi, .liti;".
fsee for
fnr exampre,
cyamnro rheodor
19
ftle
-*-^,^_?g"t^
w. erexanoer,':u
'See,
i;"*iuriiir"i'j:i[Ttlil$,?:t:."]l!lElse," Modern Austrian Lii
,,"^,:":!.t!:: 19.3_a.(199.6): 49_61;
"ril vicror ,t. Cji*"lO],' j..
nic: pinrer Mi
Min;o..
ndess, ..Schnirzrer's
ygaa; ;i [
i;ii,;;.y"t;'hii"lll
"ra
i li,. n u.
)'
; ir. ;;t";l
il,
Sch ni rz te.
er'ss tF rau
r a i tei n
:
l:*,?!-!
}2?-t
: A Freud ian Novera?" L e r at re'.a-?'.e-p
y
n
d
r
r
ii t isy I i.i' iiij,"i
",?:{#K':!i
'.
8 a
;I"!;il
Arthur
H'
.Rev'
t
r
l
sllTtv
r
s'n'ieri'i bliiiiii"PT"';';i'E;;f,i',ii7n'i,nonns(Berrin:
it
u
r
'olbid. 65.
Reinhard Urbach. Schnitzler_Kommentar
zu den erztihlenden Schriften und draWerken (Mtinchen: Winkler, lgji; i;.
l.e1
f f
rrFor more
information on s.rrniiri.rr'umnitv to Mahrer
and Beethoven,
flsee, for example.
Arthur schnitzr
see
weiner
er,
.Tagebuch IgTg-rgg2,ed. werner werzig et ar.
,J".,ll:j?:":1.,,T':*,:n.*,+il*.ti:;"";:ll,:i.,*i'arten, reszl 55, r76, 2dz: er-
,*lTfl r",lq#"$ii,,.l;#J"*".;ffffi s* j,y$_:.rlth!ffi
urSchnitzrer' Tasebuch IgrJ-r9r6,'ed. w;;;
\,i';il; et al. (wien: Verras der osrer:::iikritil;:
i) t'h, zas,26e; and Arthur schnirz.iesffi
i;']'::::ln'.t'1
{i
ragebuch retT-rete.eo. werneiw-erzit;i;iii#;,
;;;,i!';.1"6,?l$ff;?$i,r.,iTi.t':
fe der wissenschafren, t e85) 20,^28, J2",
;0,';):';:, d, s2, ,t02, ,8, t80, 277.
Tagebuch r 87s- t Ss2' t6i
fl9..tr."it4gr,
''Ibid. 176.
'Quoted in F. Gustav Jansen, Die Davidsbilndrer. Aus Roberr schumann,s
sturmDr::q!::!
( Lei pzie: Breirkopi
; ;a-r;e'
Hil;[ ffi i; t;.
in
Thomai
nta
n
nio*n,
''Quoted
;;, i;;i r! ij' no o, n sc h u m a n n (New york:
rphical Library, t968) 59.
iiber Musik und Musiker 2(rripzig:
Breitr Jlirx'*i'i;'1ixhl5i1fr?,if
(:
"^f!"{*
fvEdward
,tmerican
A' Lippman. "Theory and practice in Schumann,s
Musicological Sociay t't Us6ii. ii,. "'*"
,ff"1'fi:i:i6tii;?1'
tue;nit')iiii;,'ilout
Aesthetics,,,
"Io urnar
of
schumann,3rd ed. (r,eipzig: Breit-
lrln conlrasr to my
anarvsis of the first musicat excerpt
as a representation of Erse,s
M;;;;i il;Jl"ni"s,*.,u,.,., sees rhis l.accenred
ill3,*llS'::1,,
Il"^
:f
ance
and the vorar'e
rrarmonj! srrucrure pr ri*i"ei}r".'riirl,l;
Else's sudden shock ar catching her
firsi grirp-r-.iioorsday in the music room,,
I believe
uv,rLvE that
,,4r the
.rrc significance
srsnrncanc: of
.
tf,ls -u.l?"i'.i"irl',,*
t_11'
musical
n^t n;_^,_- :_
gt
.quote lies not primarily ln i."r,-ii*l
as. a direcl refleclion of Erse's
slate, bur rarnr,
in i-r,. tt.n'uri. conflict which it
Iry:l
ll9tr:",
!lbid.
#;i:i:.ifft?H:
- r
"The Impacr of Musical Theme and Strucrure,,
163.
,Jfiili".?*,liiffiiJ"Tr:iil,$:::Jqij":l";;J"',,"#'I1;,,f
"hides" rhe lerrers A tS u
C H,
fli 1^r,:::,:r1?_le
mailn!
maKlng ;;-f#.;;
relerence
of Ernestine un" Fi.r.","ii"^*i'"-l'*'i.^
(Asch), as well u, ro S.nurnuint-iu_"
rn nnnrro"r,^._^:^I9l"I.icken
the resr of rhe piecel
SpHTNX is meanr
'umAnn
eyeli;tJ"."","111:ro
and not the car.
rrBrown I76.
26The three
characrer oieces in Carnavar which foilow ..Lettres
dansantes,, (..chiar_
'"'Chopin", and "Estreila") are also
not quot.O f"y'Scnnitzler: these pieces draw
to
rr wourd be sare to omir rhem
anv discussion orparauer
il'eriii
i,fT"lS:JH#
r himself claimed rhat rhe '.riir"^
"uau.niui.;
rhe orher
thc birthplace
iil;;d,;"wever,
l;*'f.Xin:*1q1T,"i:-::L^yll!,gi;i"i"riilii"
ffi; ffiil.;$:.tr
oi;#;d;iil
characrer pieces.
Raynwtl
188
strucrure" I 64; Schneider
:8:e1:.:+*'i#l"i1t1 y"sicar rheme and
Structure" 164'
2ecreen, "rne rmpaii ;i^il;;i;;i Theme and
I
7'rt.
Search for Truth in
orschungen eines Hundestt
Frcrrnr
(
Michael Braunwarth et al''
tzrer, Briefe 1913-1931'ed'Peter
a.M.: Fischer, 1984) 609-10'
szWeiner 84'
lf,lt,LtJ;ntt
University
Of Kafka's last three stories, "Der Bau," "Josefine, die Siingerin,
Volk der Miuse," and "Forschungen eines Hundes," the latter
been, in the opulence of Kafka criticism, rather neglected. A likely
ion for this tendency to slight the work can be found in the
of its didactic tone and its propensity to be allegorical.r However,
factors which lend significance to the other, more extensively disstories, their exposition of the theme of the artist and his work,
r with the density of their socio-philosophic ramifications, appear
well and with equal subtlety in "Forschungen eines Hundes." Indeed,
an explication of Kafka's concept of the writer's societal and personal
tllons,
ursive narrative deserves particular attention.
Two
Iwo aspects
i
of the story, prefigured in the title, have clear antets in Kafka's fiction. The 'investigations' (this translation of Forungen is inept-'research' or 'experiments' would be apter) undertaken
lhe canine protagonist are linked linguistically to the'report' (Bericht)
by Kafka's humanized ape for a group of scientists and to the
s)' (Betrachtung) elicited from the fledgling author Kafka
the title of his first publication, has been given the misleading trans'meditation'). Thus Kafka has begun and ended his career as a
by implying that his intent will be and has been simply to record
than adjudge or elaborate on his experiences. Paradoxically, this
to keep his prose under the restraint of rationality is made in "For" by a lowly animal, a dog. Once again, precedence is involved
's use of animal symbolism, specifically the symbol of the monin creating a self-portrait. The protagonist in Der Prozel3 dies like a
and has seen his destiny foreshadowed in the brutish life led by the
Block and the brutish treatment to which he must submit. In
der Strafkolonie" the soldier condemned to death is also such a
ity. Kafka gave his predisposition to use the frame of the animal
for his fiction full reign in "Forschungen eines Hundes." NotwithDas
in Mittelalter und Friiher Neuzeit
"Auffiihrung" und "schrifto'
istdasrhema"in.,int'"*uiiillifu ":i"':f ?:lT,:Yi':?i'ii
F:rHJJrUt"J;"r';;;lo.ui,lir.sepremuerree4imKrosterseeon
r;ffi;6;lti;f
i:l ll:"J,::1:l'Uil]"I'
ffitiiffi#;;J;i,'iil e"i,;ier .h.nschen Lied- und
sraufinden sor. Das
Sangsl
der
tuns).Iritune:ctristopt"t;''T"-{;l'i-1?}I-1lli^11,tlikY:-,iTi;
;i ;;i w;"er' Essen 3) I nszeni
illS'; lf lil?;;:il::i1ffi *iff ffi ;; ;i
t"
von Gesell schaft-Rituaili;;;ilil;;* F,']Y
-TT', : lff : S.i:ll
;Ht:.TiiTffi.'n-ui"l?i'*'*1;;-i-"*11i"rcomern'rritung:Erich
P.lft::::i"Ti:::1;:fi
vetreter
schmidt, K6ln. Eingelait'i'ina
rer,
"ty:l::
iliL?iXh"l?;'ft ?lif llK;;;;it,rheater-,Kunst-undMusikwissenschaft
storiker. volkskundle',';;;;i";;;, lil."t"l:1'-:,-1,1:?:i:.::.;ti"iJ$::
fcrspektive.
(
li,*::::i9.""f
ffil$i ;tf;ffiHhrir"-r""'*istischer
geladen,spatestensbt';-;;';;;3"-;t"*::1"T,'i{r::'"';'.t;1,H:?1ffi 3
t'ill:l','JtT:,'.TK?:[iJ;"";li+:-y;:d:tl':"#::l'lliT;::l'o
schlagen, wer eingeladen ;:lq::::
*fi1
wird'
". 1i;1'i:*::*Xtl3ffiffi
aren relnehmern zusesandt
;?l?:;?ff:;,,1ruffi;i'iaii"i "a
irprtt"*i""'t""tv"tr"t,l-l9tllll,i"1::;t'Jrhf;:!i;t
dasSymposionfi
tn}rt*
"
(r n
a t M il
r
p
|,':;, ;,' i; ;;i i i e n b n s e', (2375);
H'iut
Fax 08e'2180'
216sljj6e
o6e'
srraJJe 3,8000 Mi)nchr;;',;;;i;
i
i
i ve s i
t
n ch e
n' t
s(
e Vol.
85, No. 2,1993
/0002 lot 89 $0 1.50/0
by The Board of Regents of The University of Wisconsin System
t
/93
r89