REICHSRAT (Plan A3), Austrian parliament (1867–1918). The deputies were not consulted about the declaration of war, since the Reichsrat had been suspended in March 1914 and was not reconvened until May 1917: 66f.
REITZES, Baron Hans von Marienwert (1877–1935), prominent financier, opened his palace to wounded officers: 238.
RICHTHOFEN, Baron Manfred von (1892–1918), ace German pilot, autobiography Der rote Kampfflieger (The Red Baron, 1917): 501.
RIEDL, Ludwig (1858–1919), renowned proprietor of Café de l’Europe (→Café Europa, Café Riedl) on Stephansplatz (Plan C3), recipient of numerous international honours: 31, 43, 102ff, 121, 390f, 506.
RING (Ringstrasse, each section differently named, e.g., →Schottenring), boulevard around centre of Vienna which replaced city fortifications; site of major public buildings: xii, xvii, 29, 33, 47, 82, 113, 131, 132, 168, 240, 277, 310, 318, 385, 418f, 457ff, 468, 527, 597.
RODA RODA, Alexander (Sandor Friedrich Rosenfeld, 1872–1945), former officer, journalist, and war correspondent for →Neue Freie Presse in Balkan wars (1912–13) and in →War Press Bureau (1914): 53, 68, 93, 115, 125, 201ff, 527, 569,
RODAUN, affluent suburb in south-west Vienna, headquarters of →War Press Bureau (1917): 252.
“AUGUSTE RODAUN”, sculptor Auguste Rodin (1840–1917): 252.
ROLLÉ, Fritzi Rolly (1886–1964), operetta soubrette at →Gartenbau (1911, 1913): 534.
ROMANIA (Map G4/H4) entered war on side of the →Entente in August 1916 after Central Powers’ losses in the east (→Brusilov offensive). German troops under →Mackensen overran Romania, entering Bucharest on 6 December 1916: xvii, 240, 242, 270, 355f, 359f, 362f, 366, 402.
“ROSA, WE’RE OFF TO LODZ!” (“Rosa, wir fahren nach Lodz!”), march, music by Artur Marcell (d. 1931) and words by Fritz Löhner (1883–1942). “Rosa” was the 30.5-cm mortar: 313.
ROTER TAG (Der Tag), nationalistic Berlin daily, “red” on account of red-topped headlines and articles, not political affiliation: 436.
ROTHSCHILD, Louis Nathaniel (1882–1955), took over direction of Rothschild and Creditanstalt banks in 1911 after his father’s death: 250, 468.
ROYAL AND IMPERIAL, refers to the dynastic union of the Austrian Empire (Kaisertum Österreich) and the Kingdom of Hungary (Königreich Ungarn) after the →Hungarian Compromise, hence “k.und.k.” or “k. k.” and Robert Musil’s memorable coinage, Kakanien.
ROZAN (Map F2), Russian fortress north of Warsaw, taken by German troops in July 1915 after crossing →River Narew: 128.
RUBEL, Eisig, trader in beers and spirits, originally from Hungary, implicated in a profiteering syndicate exposed by a Viennese court early in 1917. The uncouth Jewish German spoken by some of those involved, recorded in Die Fackel of May 1917 (F 457–61, 1–19), finds its way into several scenes of the play: 168.
RUDOLPH (1858–1889), Crown Prince of Austria-Hungary until suicide at Mayerling with mistress, Baroness Marie Vetsera: 32, 390, 485.
RÜHS, Christian Friedrich (1781–1820), nationalistic German historian: 356.
SAARBURG (Map C3), Lorraine, in German hands (1871–1918); Battle of Saarburg, 20–22 August 1914: 439.
SABRE, the ceremonial sword worn by infantry officers, prominent in →Fritz Schönpflug’s militaristic cartoons, was anachronistic even before the deployment of →poison gas, →aerial bombardment, and the →U-boat. As the emblem of arrogance and brutality it evolves into a leitmotif extending from marching boys with wooden sabres (I, 1) through children subject to “sabres as canes for spanking” (I, 29) and the girl who helps herself to an officer’s sabre in lieu of payment (V, 45), to the ultimate horror perpetrated by →Captain Prasch (V, 55): xii, 55, 112, 154, 306ff, 495f, 533, 541.
SACHER, famous hotel and café, proprietress Anna Sacher (1859–1930), behind the →Opera in Philharmoniker Strasse, corner of Kärntnerstrasse (Plan C4): 63, 205, 519.
SALANDRA, Antonio (1853–1931), Italian prime minister (1914–16), declared war on Austria-Hungary (23 May 1915), on Germany (28 August 1916): 335.
SALTEN, Felix (Siegmund Salzmann, 1869–1945), versatile author who wrote polemical articles in →Neue Freie Presse about enemy culture and popularized Austrian military history for →War Archive; his collection of essays, Das österreichische Antlitz (1910), suggested to Kraus the motif of the →Austrian face: 93, 444.
SALZER, Marcell (Moritz Salzmann, 1873–1930), cabaret artiste, renowned for songs and recitations in various dialects, author of Kriegsprogramme (1914): 133, 172.
SAN, river (Map F3), tributary of the Vistula in →Galicia, frequently front line until May 1915: 338.
SARAJEVO (Map E5), capital of Bosnia-Herzegovina, where →Franz Ferdinand and his wife, Sophie, were assassinated on 28 June 1914: xiv, 29, 38, 43, 44, 56, 378, 485, 497.
SASCHA FILM, largest Austrian production company of the silent film era, founded in 1910 by →Kolowrat.
SAVE, river, tributary of the Danube, marking Serbia’s northern frontier between →Chabatz and →Belgrade (Map F), crossed by Austrian forces under →Potiorek on 12 August 1914, repelled on 16 August.
SCHAFFGOTSCH, (“Fipsi”), possibly Count Victor (1850–1919), colonel in Reserves: 63.
SCHALEK, Alice (pseudonym: Paul Michaely, 1874–1954), journalist on →Neue Freie Presse (from 1903), only female front-line war correspondent, co-head with →Siegfried Löwy of War Welfare organization →Schwarzgelbe Kreuz (“Black-and-Yellow Cross”); author of Tirol in Waffen (Tyrol under Arms, 1915), dedicated to →Boroević: 115, 139ff, 214f, 227ff, 235, 242f, 283f, 334ff, 380f, 403, 440ff, 470, 499, 511, 527, 561, 596.
SCHALK, Franz (1863–1931), conductor of Vienna Court Opera under Mahler’s directorship (1900), co-director with Richard Strauss (1918): 399.
SCHEER, Reinhard (1863–1928), German vice-admiral, in command of German High Seas Fleet at →Jutland: 247.
SCHEFFEL, Joseph Viktor von (1826–1886), poet (→Trumpeter of Säckingen; →“When the Romans Had the Nerve”): 327.
SCHEIDL, Café/tearoom in house “Zum Fenstergucker”, Kärntnerstrasse, corner of Walfischgasse (Plan C4); spicy pancakes a specialty: 102.
SCHENK, Martin (1860–1919), comic (from 1899), later director →Gartenbau: 534.
SCHILLER, Friedrich (1759–1805). Kraus’s play abounds in allusions to his poems and plays: 1, 107f, 158, 247, 296, 299.
SCHILLERIAN TRAGEDY:
Preface: “I have portrayed the deeds they merely performed”—an inversion of “Ich habe getan, was du — nur maltest”, Fiesco, Act II, scene 17; a reprise of “An artist with any sense of conviction would have declared to Fiesco: “What you merely performed, I have portrayed!” (F 259–60, July 1908, p. 45): 1;
I, 1: “let us rise up as one, with banners fleeing, and unite with the Fatherland in its hour of destiny!”—drunkenly garbled version of Attinghausen’s plea to Rudenz to defend his Swiss heritage against Austrian oppression (Wilhelm Tell, Act II, scene 1): 49;
I, 17: “Here I stand, a lifeless trunk”—where Wallenstein acknowledges he has been deserted by all, like a tree stripped of its leaves: “Da steh’ ich, ein entlaubter Stamm” (Wallensteins Tod, Act III, scene 13); Riedl’s misquotation—“entleibt” for “entlaubt”—suggests he would be committing professional suicide by returning his decorations: 105;
I, 23: “as Emperor and Poet walk side by side, for the heights of mankind they both bestride”—Karl [Charles VII] in Die Jungfrau von Orleans (Act I, scene 2): 126;