Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook.
This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission.
Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved.
Author: August Strindberg
Release Date: April, 2005 [EBook #7956]
[This file was first posted on June 5, 2003]
Character set encoding: iso-8859-1
*** START OF THE PROJECT GUTENBERG EBOOK MARRIED ***
LOVE AND BREAD
AN ATTEMPT AT REFORM
A NATURAL OBSTACLE
A DOLL'S HOUSE
ROMEO AND JULIA
UNMARRIED AND MARRIED
Strindberg's works in English translation: Plays translated by Edwin
Bjorkman; _Master Olof_, American Scandinavian Foundation, 1915; _The
Dream Play, The Link, The Dance of Death_, New York, Charles
Scribner's Sons, 1912; _Swanwhite, Simoon, Debit and Credit, Advent,
The Thunderstorm, After the Fire,_ the same, 1913; _There Are Crimes
and Crimes, Miss Julia, The Stronger, Creditors, Pariah_, the same,
1913; Bridal Crown, _The Spook Sonata, The First Warning, Gustavus
Vasa_, the same, 1916. Plays translated by Edith and Warner Oland,
Boston Luce & Co., Vol. I (1912), _The Father, Countess Julie, The
Stronger, The Outlaw_; Vol. II (1912), _Facing Death, Easter, Pariah,
Comrades_; Vol. III (1914), Swanwhite, Advent, The Storm, Lucky Pehr_,
tr. by Velma Swanston Howard, Cincinnati, Stewart & Kidd Co., 1912.
_The Red Room_, tr. by Ellie Schleussner, New York, Putnam's, 1913;
_Confession of a Fool_, tr. by S. Swift, London, F. Palmer, 1912; _The
German Lieutenant and Other Stories_, Chicago, A. C. McClurg & Co.,
1915; _In Midsummer Days and Other Tales_, tr. by Ellie Schleussner,
London, H. Latimer, 1913; _Motherlove_, tr. by Francis J. Ziegler,
Philadelphia, Brown Bros., 2nd ed., 1916, _On the Seaboard_, tr. by
Elizabeth Clarke Westergren, Cincinnati, Stewart & Kidd Co., 1913;
_The Son of a Servant_, tr. by. Claud Field, introduction by Henry
Vacher-Burch, New York, Putnam's, 1913; _The Growth of a Soul_, tr. by
Claud Field, London, W. Rider & Co., 1913; _The Inferno_, tr. by Claud
Field, New York, Putnam's, 1913; _Legends, Autobiographical Sketches_,
London, A. Melrose, 1912; _Zones of the Spirit_, tr. by Claud Field,
introduction by Arthur Babillotte, London, G. Allen & Co.
These stories originally appeared in two volumes, the first in 1884,
the second in 1886. The latter part of the present edition is thus
separated from the first part by a lapse of two years.
Strindberg's views were continually undergoing changes. Constancy was
never a trait of his. He himself tells us that opinions are but the
reflection of a man's experiences, changing as his experiences change.
In the two years following the publication of the first volume,
Strindberg's experiences were such as to exercise a decisive influence
on his views on the woman question and to transmute his early
predisposition to woman-hating from a passive tendency to a positive,
active force in his character and writing.
Strindberg's art in _Married_ is of the propagandist, of the fighter
for a cause. He has a lesson to convey and he makes frankly for his
goal without attempting to conceal his purpose under the gloss of
"pure" art. He chooses the story form in preference to the treatise as
a more powerful medium to drive home his ideas. That the result has
proved successful is due to the happy admixture in Strindberg of
thinker and artist. His artist's sense never permitted him to distort
or misrepresent the truth for the sake of proving his theories. In
fact, he arrived at his theories not as a scholar through the study of
books, but as an artist through the experience of life. When life had
impressed upon him what seemed to him a truth, he then applied his
intellect to it to bolster up that truth. Hence it is that, however
opinionated Strindberg may at times seem, his writings carry that
conviction which we receive only when the author reproduces' truths he
has obtained first-hand from life. One-sided he may occasionally be in
_Married_, especially in the later stories, but rarely unfaithful. His
manner is often to throw such a glaring searchlight upon one spot of
life that all the rest of it stays in darkness; but the places he does
show up are never unimportant or trivial. They are well worth seeing
with Strindberg's brilliant illumination thrown upon them.
Use your Facebook login and see what your friends are reading and sharing.
Now bringing you back...