Master Olof: A Drama in Five Acts | Page 6

a renegade. The individual must always become a renegade--forced by the necessity of natural laws; by fatigue; by inability to develop indefinitely, as the brain ceases to grow about the age of forty-five; and by the claims of actual life, which demand that even a reformer must live as man, mate, head of a family, and citizen. But those who crave that the individual continue his progress indefinitely are the shortsighted --particularly those who think that the cause must perish because the individual deserts it. ... It is an open question, for that matter, whether Olof did not have a better chance to advance his cause from the pulpit of the reformed Greatchurch than he would have had in low-class taverns."
These passages were written by Strindberg fourteen years after the completion of the play to which they refer. We have other evidence, however, that, while he might have seen things more clearly in retrospect, he had not been lured by the lapse of time into placing his characters in a light different from that in which they were conceived. On the list of characters forming part of the original handwritten manuscript of the first version of Master Olof, now preserved in the Public Library of Gothenburg, Sweden, the author has jotted down certain very significant notes opposite the more important names. Thus he has written opposite the name of the King: "To accomplish something in this world, one has to risk morality and conscience;" opposite the name of Olof: "He who strives to realize an idea develops greatness of personality--he accomplishes good by his personal example, but he is doomed to perish;" opposite that of Bishop Brask: "There is movement in whatever exists--whatever stands still must be crushed;" and opposite that of Gert: "He who wills more than his reason can grasp must go mad."
Such was the play with which the young Strindberg returned to the Swedish capital in the fall of 1872; and let us remember in this connection, that up to the time in question no dramatic work of similar importance had ever been produced in Sweden. Its completion was more epoch-making for Sweden than that of Brand was for Norway in 1865--since the coming of Ibsen's first really great play was heralded by earlier works leading up to it, while Master Olof appeared where nobody had any reason to expect it. This very fact militated against its success, of course; it was too unexpected, and also too startlingly original, both in spirit and in form.
At the time there was only one stage in Sweden where such a work could be produced--the Royal Theatre at Stockholm. To the officials of this state--supported institution Strindberg submitted his work--hopefully, as we know from his own statement. It was scornfully and ignominiously rejected, the main criticism being that a serious historical drama in prose was unthinkable. I shall make no comment whatever on that judgment, having in mind how several years later Edmund Gosse bewailed the failure of Ibsen to give a metrical form to his Emperor and Galilean.
Strindberg's next effort concerned publication. In this respect he was equally unsuccessful, although as a rule it has never been very difficult in Sweden to find a publisher for any work of reasonable merit. But the play was not only too original, it was too dangerously radical for a country where a truly modern form of representative government had not been achieved until seven years earlier. Strindberg was at first stunned by this failure. He seriously contemplated giving up writing altogether. When he had recovered somewhat, he seems reluctantly to have faced the possibility that the fault might be found in the play and not in the public.
So he set about to re-write it--and he did so not only once but repeatedly, producing in all six versions that differ more or less from one another. At first he clung to the prose form. Gradually he began to introduce verse, until finally, in 1877 or 1878, he completed an almost new play, where the metrical form predominated without being used exclusively. This version was actually published in 1878. Originally, an epilogue was appended to it, but this was dropped from all but a small part of the first edition. It is supposed to take place a number of years later than the fifth act, and shows Olof with his two sons outside the city walls of Stockholm, where they witness a miracle-play introducing God as the principle of darkness and Lucifer as the overthrown but never conquered principle of light. The bitter generalizations of this afterthought explain Sufficiently why it was excluded. To the later Strindberg--the man who wrote Advent, for instance--it must have seemed one of his most unforgivable offences.
Although Strindberg's main object in working over his play undoubtedly was to obtain its