Plays: Comrades; Facing Death; Pariah; Easter | Page 2

masterpiece of all the short one-act plays. The dialogue is so concentrated that it seems as if not one line could be cut without the whole structure falling to pieces, and in these terse speeches a genius is revealed that, with something of the divine touch, sounds the depths of the human heart and reveals its inmost thoughts. "Pariah" was published in 1890 and "Facing Death" in 1898.
The period of Strindberg's sojourn in Switzerland, 1884-87, was most important in the evolution of the character and work of the man who, throughout his career, was to engage himself so penetratingly and passionately in the psychology of woman, and love, and the problems of marriage, as to acquire the reputation, undeserved though it was, of woman-hater. That this observation and analysis of woman was not induced by natural antipathy to the sex, nor by unhappiness in his own married experience, is made clear by the facts of his life up to the time when such investigation was undertaken. What, then, did sway him to such a choice of theme? Examination of the data of this period from Strindberg's own annals reveals the following influences: Ibsen from his Norwegian throne had hailed woman and the laborer as the two rising ranks of nobility, and Strindberg asked himself if this was ironic, as usual, or prophetic. Feminine individualism was the cult of the hour. The younger generation had, through the doctrines of evolution, become atheistic. Strindberg tells of asking a young writer how he could get along without God. "We have woman instead," was the reply. This was the last stage of Madonna worship! And how had it happened that the new generation had replaced God with woman? "God was the remotest source; when he failed they grasped at the next, the mother. But then they should at least choose the real mother, the real woman, before whom, no matter how strong his spirit, man will always bow when she appears with her life-giving attributes. But the younger generation had pronounced contempt for the mother, and in her place had set up the loathsome, sterile, degenerate amazon--the blue-stocking!"
Earnestly pondering these matters, Strindberg at length decided to write a book about woman, a subject, he declares, which up to this time he had not wanted to think about, as he himself "lived in a happy erotic state, ennobled and beautified by the rejuvenating and expiatory arrival of children." But nevertheless he decided to write such a book, and so with sympathy and much old-fashioned veneration for motherhood the task was undertaken.
Regarding the mother as down-trodden, he wanted to think out a means for her deliverance. To obtain a clear vision he chose as a method the delineation of as large a number as possible of marriage cases that he had seen--and he had seen many, as most of his contemporary friends were married. Of these he chose twelve, the most characteristic, and then he went to work. When he had written about half that number, he stopped and reviewed the collection. The result was entirely different from what he had expected.
Then chance came to his aid, for in the pension where he was living, thirty women were stopping. He saw them at all meals, between meals, and all about, idle, gossiping, pretentious, longing for pleasure. "There were learned ladies who left the Saturday Review behind them on the chairs; there were literary ladies, young ladies, beautiful ladies." When he saw their care-free, idle life, with concern he asked himself: "Whom do these parasites and their children live on?" Then he discovered the bread-winners. "The husband sat in his dark office far away in London; the husband was far away with a detachment in Tonkin; the husband was at work in his bureau in Paris; the husband had gone on a business trip to Australia." And the three men who were there gave him occasion to reflect about the so-called female slave. "There was a husband who had a fiercely hot attic room, while the wife and daughter had a room with a balcony on the first floor. An elderly man passed by, who, although himself a brisk walker, was now leading his sickly wife step by step, his hand supporting her back when making an ascent; he carried her shawls, chair, and other little necessities, reverently, lovingly, as if he had become her son when she had ceased to be his wife. And there sat King Lear with his daughter,-- it was terrible to see. He was over sixty, had had eight children, six of whom were daughters, and who, in his days of affluence, he had allowed to manage his house and, no doubt, the economy thereof. Now he was poor, had nothing, and they had all deserted him except one daughter who had