Strindberg's psychological arena: the theater of merciless intellectual combat

“ Here we have the reason why Mr. Hansson could find so little of his story in the play. And here we have the origin of a theme which, while not quite new to him, was ever afterward to remain a favourite one with Strindberg: that of a duel between intellect and cunning. It forms the basis of such novels as "Chandalah" and "At the Edge of the Sea," but it recurs in subtler form in works of much later date. ”

“ X.—that striking antithesis of everything a scientist used to stand for in poetry—is much less interesting as a superman in spe than as an illustration of what a morally and mentally normal man can do with the tools furnished him by our new understanding of human ways and human motives. And in giving us a play that holds our interest as firmly as the best "love plot" ever devised, although the stage shows us only two men engaged in an intellectual wrestling match, Strindberg took another great step toward ridding the drama of its old, shackling conventions. ”

“ An emotion that would move another man to murder would precipitate Strindberg into merciless analysis of his own or somebody else's mental and moral make-up. At any rate, I do not proclaim his way of presenting truth as the best one of all available. But I suspect that this decidedly strange way of Strindberg's—resulting in such repulsively superior beings as Gustav, or in such grievously inferior ones as Adolph—may come nearer the temper and needs of the future than do the ways of much more plausible writers. This does not need to imply that the future will imitate Strindberg. ”

“ In Gläubiger, a tragic comedy, Strindberg treats, with his accustomed omniscience, a sweet little story about a man who follows his runaway wife to a seaside resort and becomes acquainted with the new husband—unknown to the lady, who is away for a week. Here we catch a glimpse of another hell, the cruelty of a powerful intellect. The weaker man is a painter, turned sculptor, and—subtle irony—he models only his wife's figure. (This was published in 1889; Ibsen certainly read it—witness When We Dead Awake.) The snaring of the poor emotional wretch's soul is masterly. ”

“ Everything that suits his mood of the moment is "Poesque" or "E. P-esque." The story that seems to have made the deepest impression of all was "The Gold Bug," though his thought seems to have distilled more useful material out of certain other stories illustrating Poe's theories about mental suggestion. Under the direct influence of these theories, Strindberg, according to his own statements to Hansson, wrote the powerful one-act play "Simoom," and made Gustav in "Creditors" actually CALL FORTH the latent epileptic tendencies in Adolph. ”

“ Here we have the secret of what I believe to be the great Swedish dramatist's strongest hold on our interest. How could it otherwise happen that so many critics, of such widely differing temperaments, have recorded identical feelings as springing from a study of his work: on one side an active resentment, a keen unwillingness to be interested; on the other, an attraction that would not be denied in spite of resolute resistance to it! For Strindberg DOES hold us, even when we regret his power of doing so. ”

“ Hansson. These show that while Strindberg was still planning "Creditors," and before he had begun "Pariah," he had borrowed from Hansson a volume of tales by Edgar Allan Poe. It was his first acquaintance with the work of Poe, though not with American literature—for among his first printed work was a series of translations from American humourists; and not long ago a Swedish critic (Gunnar Castren in Samtiden, Christiania, June, 1912) wrote of Strindberg's literary beginnings that "he had learned much from Swedish literature, but probably more from Mark Twain and Dickens." ”

“ With this side of man's natural life young Naturalism had no sympathy. That came with years of discretion.
The transformation of the diffuse drama in many acts into the concise and dynamic one-act play with few characters, and the simplification of stage technique, were the salient [Pg 214] points in Strindberg's proclamation of Theatre Reform. He held that there is generally but one scene, towards which the playwright mounts on devious paths, and that author and audience alike are made to endure painful side-shows for the sake of one thing worth seeing. ”

“ TEKLA. Of what?
ADOLPH. Of the knife!
TEKLA. [Prattling] Little brother had better not play with such dangerous things.
ADOLPH. I have quit playing.
TEKLA. Oh, it's earnest, is it? Dead earnest! Then I'll show you that—you are mistaken. That is to say—you'll never see it, never know it, but all the rest of the world will know It. And you'll suspect it, you'll believe it, and you'll never have another moment's peace. You'll have the feeling of being ridiculous, of being deceived, but you'll never get any proof of it. For that's what married men never get. ”

“ In Swedish its name is "Fordringsagare." This indefinite form may be either singular or plural, but it is rarely used except as a plural. And the play itself makes it perfectly clear that the proper translation of its title is "Creditors," for under this aspect appear both the former and the present husband of Tekla. One of the main objects of the play is to reveal her indebtedness first to one and then to the other of these men, while all the time she is posing as a person of original gifts. ”

“ Put trousers on her, give her a pair of moustaches of soot under her nose, then take a good, sober look at her, and listen to her in the same manner: you'll find the instrument has another sound to it. A phonograph, and nothing else—giving you back your own words, or those of other people—and always in diluted form. Have you ever looked at a naked woman—oh yes, yes, of course! A youth with over-developed breasts; an under-developed man; a child that has shot up to full height and then stopped growing in other respects ”

“ You are moved by good intentions, but they are such as must cause harm. Your blood is hot, and it blinds you because you exercise no self-control. You preach freedom, and you are plunging thousands into the slavery of license. Retrace your steps, young man, and make atonement for your errors! Restore what you have torn down, and your fellow-men will bless you!
Olof (agitated to a point of desperation) . It is the truth you speak; I hear it, but who taught you to speak like that?
Constable. Experience—that which you lack!
Olof. Can I have lived and fought for a lie? ”

“ The force of suggestion, the primary importance of thought form the keynote of several of Strindberg's plays. In Eric XIV he lets Göran Persson say to Eric: "King and friend, you so often use the word hate [Pg 309] that at last you imagine yourself to be the enemy of humanity. Don't use it! The word is the first realisation of the creative force, and you throw a spell over yourself by this incantation. Say 'love' a little oftener, and you will imagine yourself loved." ”

“ I have avoided the symmetrical and mathematical construction of the French dialogue, and have instead permitted the minds to work irregularly as they do in reality, where, during conversation, the cogs of one mind seem more or less haphazardly to engage those of another one, and where no topic is fully exhausted. Naturally enough, therefore, the dialogue strays a good deal as, in the opening scenes, it acquires a material that later on is worked over, picked up again, repeated, expounded, and built up like the theme in a musical composition. ”

“ GUSTAV. And do you realise that I am jealous of your husband?
TEKLA. [Rising] And now we must part! Forever!
GUSTAV. Yes, we must part! But not without a farewell—or what do you say?
TEKLA. [Agitated] No!
GUSTAV. [Following after her] Yes!—Let us have a farewell! Let us drown our memories—you know, there are intoxications so deep that when you wake up all memories are gone. [Putting his arm around her waist] You have been dragged down by a diseased spirit, who is infecting you with his own anaemia. I'll breathe new life into you. ”

“ And if this expectation springs out of a present feeling, the bias to illusory insight is still more powerful. For example, a child that fears its parent's displeasure will be prone to misinterpret the parent's words and actions, colouring them according to its fears. So an angry man, strongly desirous of making out that a person has injured him, will be disposed to see signs of conscious guilt in this person's looks or words. Similarly, a lover will read fine thoughts or sentiments into the mind of his mistress under the influence of a strong wish to admire. ”

“ Children are in the habit of playing papa and mamma, but when they grow up they play brother and sister—in order to hide what should be hidden!—And then they took the vow of chastity—and then they played hide-and-seek—until they got in a dark corner where they were sure of not being seen by anybody. ”

“ You're a fine atheist, with all that superstition about woman still in you! You're a fine free-thinker, who dare not think freely about the dear ladies! Do you know what that incomprehensible, sphinx-like, profound something in your wife really is? ”

“ You are a dangerous woman, Tekla!
TEKLA. Am I? And my young husband says that I can make no more conquests.
GUSTAV. That means he has ceased to love you.
TEKLA. Well, I can't quite make out what love means to him.
GUSTAV. You have been playing hide and seek so long that at last you cannot find each other at all. Such things do happen. You have had to play the innocent to yourself, until he has lost his courage. There ARE some drawbacks to a change, I tell you—there are drawbacks to it, indeed. ”

“ CAPTAIN [Draws her to him] . Bertha, dear, dear child, you are my child! Yes, Yes; it cannot be otherwise. It is so. The other was only sickly thoughts that come with the wind like pestilence and fever. Look at me that I may see my soul in your eyes!--But I see her soul, too! You have two souls and you love me with one and hate me with the other. But you must only love me! You must have only one soul, or you will never have peace, nor I either. You must have only one mind, which is the child of my mind and one will, which is my will. ”

“ We begin to love a woman, and deposit our soul piece-meal, so to speak, with her. We double our personality, and the loved one, who was formerly indifferent and neutral, begins to clothe herself in our other "I," and becomes our counterpart. When she takes it into her head to depart with our soul, the pain which it causes us is perhaps the most violent that there is, only to be compared to that of a mother who has lost her child. There is a painful sense of emptiness and woe to the man who has not strength enough to begin to divide himself again and to find another vessel to fill. ”

“ The symptoms of this self-destruction of the botched and the bungled: self-vivisection, poisoning, intoxication, romanticism, and, above all, the instinctive constraint to acts whereby the powerful are made into mortal enemies (training, so to speak, one s own hangmen) , the will to destruction as the will of a still deeper instinct of the instinct of self-destruction, of the will to nonentity. ”

“ It may, indeed, very justly leave the best, and most distinguish'd Characters, in Distress at last; which (as shall be observ'd hereafter) is the most affecting Sort of Tragedy. But if some innocent and virtuous Persons are fortunate, let them be all so, and the bad only left miserable; otherwise the Drama will be inconsistent: And these opposite Agitations of Mind will weaken and destroy each other. Let the Audience go home either in a pleasant or melancholy Humour ”

“ The over-balance of psychological analysis mars some of the later historical dramas. It makes some of the transcendental plays and the chamber plays mere dramatic dialogues, pictures of minds in conflict; it gives us the Shadow Theatre of the Soul, and leads Strindberg to bold defiance of the rules of dramaturgy—including those laid down by himself.
The cycle of the Vasa plays—Master Olof, Gustavus Vasa and Eric XIV—bears the mark of the consummate craftsman. Their strength [Pg 299] is the strength of reality, their beauty a perfect proportion of dramatic construction. ”

“ Every line of his works is written in the shadow of the sorrow of living. In them, all that is most dismal and terrifying and therefore most tragical, becomes articulate. They are propelled by an abysmal pessimism, and because of this fact, since pessimism is one of the mightiest inspiring forces in literature, August Strindberg, its foremost spokesman, deserves to be read and understood. ”

“ Nor can a Volta with his lightnings, nor A Davy cancel it, nor England with Her vast machinery, nor this our age With all its floods of Leading Articles. The good man ever will be sad, the wretch Will keep perpetual holiday; against All lofty souls both worlds will still be armed Conspirators; true honor be assailed By calumny, and hate, and envy; still The weak will be the victim of the strong; The hungry man upon the rich will fawn, Beneath whatever form of government, Alike at the Equator and the Poles; So will it be, while man on earth abides, And while the sun still lights him on his way. ”

“ In these plays we have the eternal questions of the human mind, the joys of illusion, the sorrows of knowledge, the fruits of sin and hatred, the rise through pain and suffering, the soul's battle with relentless [Pg 305] fate, the awful mystery of existence, and the ultimate hope of something better to come, cast into the weird and haunting shapes of the people of Strindberg's inner world; the souls that are at once real and unreal, mad and sane, acting in the solid world of matter, and held in shadowy bondage by the mists of dreamland. ”

“ Nevertheless, a little cloud arises, one knows not whence; all merits are transformed into faults, beauty becomes ugliness and they confront each other like two hissing snakes; they wish each other miles away, although they know that if they are separated for a moment there begins the pain of longing, which is greater than any other pain in life. ”

“ Vera
Jean!
Jean
You read a play by Strindberg, and you say it's very strong, very artistic, but all the while you believe it is only the nightmare of a diseased mind. It's just a play—you shut the book and return to "real" life, thankfully. Well, the Strindberg play has been my real life, and real life my play, my impossible dream. You can't imagine how terrifying it is to feel the situation develop around you. Two bodies caught naked in an endless wilderness of thorns. Every movement one makes to free the other only wounds him the more. ”

“ Here, as in all his historical dramas, he writes with the sense of the importance of the infinitely small, with the knowledge that "characters" and events arise out of the mind's contact with things that seem insignificant to the [Pg 295] superficial observer. The wooden rigidity which the ordinary historian gives to the figures of the past, is the result of the incapacity to visualise the daily, the commonplace, in lives lived long ago. Strindberg's psychological conception of characters of the past is based on an almost microscopical power of seeing details. ”

“ The secret of Strindberg's great influence on the theatre of twenty years ago lay in this very conception of character. His men and women are alive, moving, changing, growing, shrinking in ceaseless response to the pressure of existence. He is the dramatist of the perpetuum mobile in the modern heart, the interpreter of inexhaustible discontent in himself and others. His personality vibrates in the dialogue, and lifts the idea of the play to the surface in every consecutive scene, but the artist in him is stronger than the idealogue. ”

“ In the following drama I have not tried to do anything new—for that cannot be done—but I have tried to modernize the form in accordance with the demands which I thought the new men of a new time might be likely to make on this art. And with such a purpose in view, I have chosen, or surrendered myself to, a theme that might well be said to lie outside the partisan strife of the day: for the problem of social ascendancy or decline, of higher or lower, of better or worse, of men or women, is, has been, and will be of lasting interest. ”