The Plays of August Strindberg
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This collection of plays by Swedish playwright and writer, August Strindberg, are a testimony to his title as "the father of modern literature" in Sweden, as well as to his distinction as one of the most important playwrights of the 20th century. Beginning with two of his popular, early plays, "The Father" and "Miss Julie," this edition explores Strindberg's crucial transition from Naturalism to Modernism, concluding with "The Dance of Death," "A Dream Play," and "The Ghost Sonata." As an author unafraid of exploring new possibilities in dramatic fiction, Strindberg is noted for his psychological realism, blatant misogyny, symbolism, and his utterly fluid and subjective sequences of events. His works bore intense scrutiny in their time, but have since been recognized for the prodigious influence they exhibited not only in the Naturalist and Expressionist genres, but on modern theatre as a whole.
story, but I have always expected something of the sort. Fire and powder must end in an explosion. What have you got in the drawer there? LAURA [Has pulled out a drawer in the desk]. Look, he has hidden everything here. PASTOR [Looking into drawer]. Good Heavens, here is your doll and here is your christening cap and Bertha's rattle; and your letters; and the locket. [Wipes his eyes.] After all he must have loved you very dearly, Laura. I never kept such things! LAURA. I believe he used
you! [Alice goes reluctantly to the piano.] Captain. [Pinching her arm] Now you have been blackguarding me! Alice. I? [Curt turns away from them.] [Alice plays "The Entry of the Boyars."] [The Captain performs some kind of Hungarian dance step behind the writing-table so that his spurs are set jingling. Then he sinks down on the floor without being noticed by Curt and Alice, and the latter goes on playing the piece to the end.] Alice. [Without turning around] Shall we
that? Alice. Do you wish to be rude? Curt. No, I don't wish to—and therefore—don't ask again! Captain. [Enters from the right] The telegram was already there, however—Please read it, Alice, for I cannot see—[Seats himself pompously in the easy-chair] Read it! You need not go, Curt. [Alice glances through the telegram quickly and looks perplexed.] Captain. Well? Don't you find it pleasing? [Alice stares in silence at the Captain.] Captain. [Ironically] Who is it from?
is me and mine; to-morrow it is you and yours. To that position you are appointed—or rather, you appoint yourself to it. All. Right-Minded. We have been deceived. Lord Chancellor. Who has deceived you? All. Right-Minded. The Daughter! Lord Chancellor. Will the Daughter please tell us what she meant by having this door opened? The Daughter. No, friends. If I did, you would not believe me. Medicine. Why, then, there is nothing there. The Daughter. You have said it—but you have
[The Fiancée curtseys in old-fashioned manner and takes a seat. The Dandy enters and seats himself; he is in mourning and has a very mysterious look.] Colonel. Baron Skansenkorge…. Hummel. [Aside, without rising] That's the jewelry thief, I think…. [To the Colonel] If you bring in the Mummy, our gathering will be complete. Colonel. [Going to the door of the Hyacinth Room] Polly! Mummy. [Enters] Currrrrr! Colonel. How about the young people? Hummel. No, not the young