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The generation of the 1890s succeeding Vrchlick and Zeyer was already consciously aesthetic and international. It developed itself under the influence of the Russians, of Ibsen and Hauptmann, of Western realism, Western decadence and symbolism. The folkloristic and provincial tones in drama disappeared and the Czech drama became a part of the European spiritual life. This period is represented by . . . Victor Dyk. . . . Dyk's ironical illusionism and patriotic pathos found their best expression in . . . plays. --New York Times, on Dyk's plays This is no children's fairy tale. Dyk's version of the story is complex and ambiguous, and the Pied Piper himself emerges as a troubled character, part dreamer, part revolutionary. He also seems unnervingly relevant to our own time. . . . An excellent translation. --David Vaughan Radio Praha

The generation of the 1890s succeeding Vrchlick� and Zeyer was already consciously aesthetic and international. It developed itself under the influence of the Russians, of Ibsen and Hauptmann, of Western realism, Western decadence and symbolism. The folkloristic and provincial tones in drama disappeared and the Czech drama became a part of the European spiritual life. This period is represented by . . . Victor Dyk. . . . Dyk's ironical illusionism and patriotic pathos found their best expression in . . . plays. --New York Times, on Dyk's plays

The generation of the 1890s succeeding Vrchlick and Zeyer was already consciously aesthetic and international. It developed itself under the influence of the Russians, of Ibsen and Hauptmann, of Western realism, Western decadence and symbolism. The folkloristic and provincial tones in drama disappeared and the Czech drama became a part of the European spiritual life. This period is represented by . . . Victor Dyk. . . . Dyk's ironical illusionism and patriotic pathos found their best expression in . . . plays. --New York Times, on Dyk's plays

"""The generation of the 1890s succeeding Vrchlick� and Zeyer was already consciously aesthetic and international. It developed itself under the influence of the Russians, of Ibsen and Hauptmann, of Western realism, Western decadence and symbolism. The folkloristic and provincial tones in drama disappeared and the Czech drama became a part of the European spiritual life. This period is represented by . . . Victor Dyk. . . . Dyk's ironical illusionism and patriotic pathos found their best expression in . . . plays.""-- ""New York Times, on Dyk's plays"" ""This is no children's fairy tale. Dyk's version of the story is complex and ambiguous, and the Pied Piper himself emerges as a troubled character, part dreamer, part revolutionary. He also seems unnervingly relevant to our own time. . . . An excellent translation.""--David Vaughan ""Radio Praha"" ""You may think you know the story of the Pied Piper of Hamelin, but probably not the way Dyk tells it in this novella... There's a timeless storybook quality to Corner's translation, but Dyk's work also feels remarkably contemporary, even now. The Pied Piper is a work of fine balances, one that lives on in the mind after reading.""--David Hebblethwaite ""European Literature Network"""

This is no children's fairy tale. Dyk's version of the story is complex and ambiguous, and the Pied Piper himself emerges as a troubled character, part dreamer, part revolutionary. He also seems unnervingly relevant to our own time. . . . An excellent translation. --David Vaughan Radio Praha The generation of the 1890s succeeding Vrchlicky and Zeyer was already consciously aesthetic and international. It developed itself under the influence of the Russians, of Ibsen and Hauptmann, of Western realism, Western decadence and symbolism. The folkloristic and provincial tones in drama disappeared and the Czech drama became a part of the European spiritual life. This period is represented by . . . Victor Dyk. . . . Dyk's ironical illusionism and patriotic pathos found their best expression in . . . plays. --New York Times, on Dyk's plays You may think you know the story of the Pied Piper of Hamelin, but probably not the way Dyk tells it in this novella... There's a timeless storybook quality to Corner's translation, but Dyk's work also feels remarkably contemporary, even now. The Pied Piper is a work of fine balances, one that lives on in the mind after reading. --David Hebblethwaite European Literature Network

The generation of the 1890s succeeding Vrchlicky and Zeyer was already consciously aesthetic and international. It developed itself under the influence of the Russians, of Ibsen and Hauptmann, of Western realism, Western decadence and symbolism. The folkloristic and provincial tones in drama disappeared and the Czech drama became a part of the European spiritual life. This period is represented by . . . Victor Dyk. . . . Dyk's ironical illusionism and patriotic pathos found their best expression in . . . plays. --New York Times, on Dyk's plays This is no children's fairy tale. Dyk's version of the story is complex and ambiguous, and the Pied Piper himself emerges as a troubled character, part dreamer, part revolutionary. He also seems unnervingly relevant to our own time. . . . An excellent translation. --David Vaughan Radio Praha You may think you know the story of the Pied Piper of Hamelin, but probably not the way Dyk tells it in this novella... There's a timeless storybook quality to Corner's translation, but Dyk's work also feels remarkably contemporary, even now. The Pied Piper is a work of fine balances, one that lives on in the mind after reading. --David Hebblethwaite European Literature Network

Author Information

Viktor Dyk (1877-1931) was a Czech writer of poetry, prose, and plays, as well as a nationalist politician. Mark Corner is a translator, author, and lecturer in religious and European studies who lives and works in Brussels.

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