The latest title in the Blue Danube imprint, which focuses on literature, history and travel in Central Europe, is Venetian Angel, a short novel by Ferenc Molnár, now translated into English for the first time. Molnár was a famous pre-war dramatist whose many plays included one on which the Rodgers and Hammerstein musical Carousel was based. Here, in the introduction, his grandson Mátyás Sárközi writes about the author:
Ferenc Molnár, my grandfather, had to leave Hungary in 1937 because of the Fascist tide there. He aimed to take refuge in America, but his first stop on the way to New York was Venice, a city he loved dearly. In this novel he calls it ‘a wonder of the world’.
Daily life in Budapest was still undisturbed in 1933. Molnár was seen daily in his straw hat, sparkling monocle in the right eye, strolling along the Duna Corso, the promenade on the Pest side of the Danube, stretching from the Elisabeth Bridge to the Chain Bridge. Already a well-known dramatist and writer in Europe and America, he was greeted at every step, even by friendly strangers. The Athenaeum publishing house asked him for a new novel. What should he write about? He submitted a manuscript without much of a story, its title inspired by a little flute-blowing putto at the bottom of Bellini’s Madonna in the Frari church in Venice. In essence, the story is a love triangle, a romance coloured with intrigue and jealousy. Molnár, with the skill of a psychologist, describes a young woman on the verge of becoming a grown-up, still unversed in the complications of adult life, still a dreamer. The action is played out against the backdrop of the Venice which Molnár knew so well, with its fascinating history and its narrow little alleyways.
He maintains that living abroad makes one different. Does it? Perhaps less so today than it did in Molnár’s time. Now the world’s populace is becoming a global melting pot of nationalities and races. But the main theme remains eternal. The protagonists come into sharp focus in Molnár’s mirror. A mirror which is able to show not only virtues, but every human foible and frailty.
Mátyás Sárközi
Hampstead, 2024
