FROM BAHR TO DEHMEL 89 experience, was not strenuous: all that he wrote has the stamp of ease, and - taken en masse - a lack of depth; what gives it interest is the catholicity of his friendships and his capacity of appreciation of all styles and phases of literature and art. On his Russian travels he discovered Eleonora Duse, and is credited with having made her reputation. In Renaissance (1897) he proclaimed that the work of Hofmannsthal and Schnitzler heralded a new era in art, and he introduced to fame more than the close circle (*Jung Wien') who gathered round him to listen to his oracular discourse in the Cafe Griensteidl in Vienna, where he settled after his meteoric appear- ance in Berlin. His plays and novels are difficult to characterize: they would have to be classified in periods corresponding to his chameleon-like changes from Socialist and naturalist to impres- sionist and finally to a Roman Catholic and expressionist with the pose of a reformer of ethics. (He of all people! , . , ) His natural- istic dramas have historical interest: Die neuen Menscben (1887) is modelled on Ibsen, and with its revolutionary hero between two women is in some sort a forerunner of Hauptmann's lELinsame Menschen\ his Die Mutter (1891), a pendant to Strindberg's The "Father, shocked even the naturalists by its sexual craziness. In the traditional Viennese style of popular play (Volksstucke) are his Aus der Vorstadt (1893; in collaboration with Karlweis1), Das Tschaperl (1898), Das Fran^l (1901). There is Viennese atmosphere, too, in his Napoleon drama, Josephine (1898), and Der Krawpus (1901) conjures up the colourful grace of Maria Theresa's days, when Klopstock was the rage. Bahr's problem plays - Der Apostel, 1901; Der Meister, 1903; Sanna, 1905; Der arme Narr, 1905 (whose hero has Hugo Wolf for model) - are admittedly weak. Bahr is more in his element when he handles current problems in the comedy vein; thus Die Kinder (1910) touches the problem of incest and Das Prin^ip (1912) disproves the theory of democratic equality by showing what follows when a Tolstoyan reformer agrees to the engagement of his son, a grammar-school boy, to a cook whose billowing bosom has revealed woman to him in a dance. Bahr's real successes were his comedies - or better farces. Two, which deal with conditions on the stage, are not without venom: Der Star (i 899) makes game of actresses, and Diegelbe Nachtigall(1907), in which a malicious actor foists a Hungarian girl on a manager 1 (=Karl Weiss, 1850-1901.) He wrote good Volksstucke \ Das grobe Hemd (1897), Der kleine Mann (1896).