Summary

Portrait of Arthur Schnitzler Arthur Schnitzler The Lonely Way—Intermezzo—Countess Mizzie

My symphony ...
CECILIA (eagerly)
... is done?
AMADEUS
It is, Cecilia. And ... I didn't mean to tell you about it to-day, but it leaves me no peace....
CECILIA
Well, what is it?
AMADEUS
The chorus in the final passage—you know the principal theme of it already—it is led and dominated by a soprano solo. And that solo has been written for you.
CECILIA
My revered Master! How proud your trust in me makes me!
AMADEUS
Don't make fun of it, Cecilia, I beg you. There is nobody in the world who can sing that solo like you.... That solo is yours—and only yours.
Source: Gutenberg

Portrait of Arthur Schnitzler Arthur Schnitzler The Lonely Way—Intermezzo—Countess Mizzie

All the acts take place in one night. The fundamental theme is one dear to Schnitzler—the flaming up of passion under the shadow of impending death. The whole city, with the duke leading, surrenders to this outburst, the spirit of which finds its symbol in a ravishingly beautiful girl, Beatrice Nardi, who seems fated to spread desire and death wherever she appears. With her own death at dawn, the city seems to wake as from a nightmare to face the enemy already at the gates. The play holds much that is beautiful and much that is disappointing.
Source: Gutenberg

Portrait of Arthur Schnitzler Arthur Schnitzler The Lonely Way—Intermezzo—Countess Mizzie

JULIAN
It seems to me that your grief makes you a little unjust toward—much that is still yours.
WEGRAT
Unjust...? Oh, I didn't mean to. I hope you don't feel hurt, children ...! Felix, you understand me fully, don't you? There is so much, from the very beginning, that draws—that lures—that tears the young ones away from us. We have to struggle to keep our children almost from the very moment they arrive—and the struggle is a pretty hopeless one at that. But that's the way of life: they cannot possibly belong to us. And as far as other people are concerned....
Source: Gutenberg

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