Swedish playwright, novelist, and
short-story
writer, who combined in his works psychology, naturalism, and later
elements of new literary forms. Strindberg was married three times –
several of his plays drew on the problems of his marriages and
reflected his constant interest in self-analysis. A sensitive and
controversial writer, who suffered from hostile reviews, Strindberg
represented the 19th-century ideal of artist as a free personality,
unrestrained by convention.
"My souls (characters) are
conglomerations of past and present stages of civilization, bits from
books and newspapers, scraps of humanity, rags and tatters of fine
clothing, patched together as is the human soul. And I have added a
little evolutionary history by making the weaker steal and repeat the
words of the stronger, and by making the characters borrow ideas or
"suggestions" from one another." (author's foreword to Miss Julie,
in Six Plays of Strindberg, 1955)
August Strindberg was born in Stockholm. His father, Carl
Oscar
Strindberg, proud of a trace of aristocratic blood, was a shipping
agent, but his business success was relatively modest. Strindberg's
mother, Ulrika Eleanora Norling, had a proletarian background. She was
a tailor's daughter, who had been a domestic servant and become Carl
Oscar's mistress. August was their third son; the couple had nine more
children.
Ulrika Eleanora died when Strindberg was 13
years old. After his father remarried, Strindberg came to hate his
stepmother. To underline his sympathies with the lower-classes,
Strindberg entitled his autobiography The Son of a Servant
(1886). Strindberg's childhood was poor and miserable – he was shy
and family tensions depressed him. Verner von Heidenstam
once said that he never heard him laugh. His habitual expression was so
severe, he described, that if you met him on a mountain path you would
hand him your purse before he asked for it.
In 1867 Strindberg entered the University of Uppsala, where he
failed to pass the preliminary examination in chemistry. He was
employed for
a short time by the Royal Dramatic Theatre, writing for the stage
three plays that were rejected. Strindberg returned to his studies in
Uppsala and completed in 1872 a senior candidacy. Back in Stockholm,
Strindberg worked as a journalist and finished the historical drama
Mäster Olof,
about the introspective Swedish Protestant reformer Olaus Petri. It was
written in the spirit of Shakespeare but Strindberg also adopted
influences from Schiller.
Strindberg became in 1874 an assistant librarian at the Royal
Library, serving until his resignation in 1882. He married in 1877
Baroness Siri von Essen, who had been wife of Baron Carl Gustaf
Wrangel, and was a member of the Swedish aristocracy in Finland. By the
time of the marriage Siri was seven months pregnant; the child died and
they had later three more children, one of whom, Kristin, wrote an
account of her parents' stormy life together. In En dåres försvarstal
(1887, A Madman's Defense) Strindberg returned to his first marriage in
a story in which the narrator is torn between adoration and revulsion.
However, first the marriage brought some balance into Strindberg's
life.
Strinberg´s first published novel, Röda rummet (1879,
The
Red Room), a satirical story about early capitalism and corruption in
Stockholm, made him nationally famous. Arvid Falk, the central
character, is an aspiring writer who loses all his illusions, and
finally accepts bourgeois family life. With this book Strindberg
started his career as one of the most prominent figures in Nordic
literature and culture. Master Olof, which first had been
rejected, was produced in 1881 and received with enthusiasm.
Svenska folket (1880-82) was an excursion into the
history
of Sweden. Far from trying to establish himself as Sweden's national
writer, Strindberg attacked the nation's central values, official
history writing, and made himself unpopular among academic historians.
Strindberg's revenge on his critics was Det nya riket (1882),
a dissection of Oscarian Sweden. In Denmark he was accused of
antisemitism.
To escape the uproar which he had stirred up, and partly to
follow
the example of many other Scandinavian writers, Strinberg decided to
travel abroad. He first moved in 1883 to France with his family and
between the years 1884 and 1887 he lived with short interruptions in
Switzerland. During this time he corresponded with Friedrich Nietzsche, and became
interested of the works of Edgar Allan Poe.
Under financial and marital difficulties, Strindberg started to show
symptoms of emotional crisis. Feelings of persecution were suppressed
by heavy drinking of absinthe. Eventually he started to believe his
wife wanted to have him locked away in a mental institution.
While staying with his wife Siri in Grez-sur-Loing, on the
edge of the Forest of
Fontainebleau, Strindberg met there Bjørnstjerne
Bjørnson. Other members of the Scandinvian artists' colony
included Carl Larson, Jonas Lie, Karl Nordström, Ville Vallgren, and
Anders Zorn.
The publication of the first part of his scenes of marital life Giftas
(1884, Getting Married), outraged the Swedish establishment, especially
the short story 'Reward of virtue', in which Strindberg mocked the Holy
Communion. The book was confiscated, Strindberg was prosecuted for
blasphemy but acquitted. In Sweden the younger generation hailed him as
a hero. Getting Married was inspired by Ibsen's play A
Doll's House
(1883), but Strindberg was more on the side of Nora's husband. However,
Strindberg's egalitarian vision of gender roles was radical for its day
and age, although at the same time he accepted the idea that celibacy
could lead to physical debility.
Strindberg's friendship with Bjørnson eventually grew very sour.
Bjørnson
first adviced him to go into exile ("This prosecution is the biggest
and best advertisement for the book," he wrote) and then urged him to
return to Sweden and face the charges. Strindberg's letter crushed
Bjørnson's hopes that his younger colleague would be his ally: "Your
Majesty. I am in receipt of your
Imperial decree and will have the honour of completely ignoring it! . .
. "I don't want any immoral advice about returning home and making a
spectacle of myself in order to advertise my writings, which need no
such assistance! Your former friend, August Strindberg."
Fröken Julie (1888, Miss Julie), Stridberg's
next major drama after Fadren
(1887, The Father), coupled one of his favorite themes, the Darwinian
battle between the sexes, with a social struggle and love-hate bond.
Strindberg wrote it durring his stay in Denmark. The protagonist,
Julie, a daughter of a count, allows herself to be seduced by her
father's servant Jean. She must then confront the situation, in which
Jean, a man on the rise, turns out to be the stronger person. Julie
causes her own tragic fate. Unable to arrive at any reasonable plan,
she orders Jean to hypnotize her into committing suicide. Miss Julie
had its premiere at Strindberg's Experimental Theater in
Copenhagen in 1889.
Alf Sjöberg's film adaptation of the play from 1951 was
faithful to Strindberg's dislike of fragmentation into the acts. He had
already staged Strindberg's play and had experimented with
"simultaneous theatre," where the stage was shared by the actors and
their visions, or with ghosts. The cinematographer Göran Strindberg was
the author's grandson. From 1954-61 he worked mostly in West Germany
photographing 11 films, notably Kurt Siodmak's Die Ratten (1955), Horst Hächler's Liebe (1956), based on Vicki Baum's novel Danger from Deer, and Gottfried Reinhardt's Menschen im Hotel (1959), also from a novel by Baum.
"The Thèâtre Libre did not start
its
activity by proclaiming any program; it has never developed an
aesthetic, never wanted to for a school... All prohibitive laws have
been canceled, and only the demands of taste and of the modern spirit
are allowed to determine the artistic form." (from
'On Modern Drama and Modern Theatre', 1889, in Samlade
Skrifter, XVII, 1913)
After completing Miss Julie, Strindberg wrote in 1889 with
Antoine's Théâtre Libre a group of one act plays, Paria, Den
starkare, and Samum,
and returned to Sweden. He divorced from Siri von Essen and moved to
Berlin, where he met an Austrian journalist Maria Uhl, known as Frida
Uhl, his second wife, whom he married in 1893. Their honeymoon the
couple spent in London, but after disagreements Strindberg escaped to
the island of Rügen. The marriage became the subject of his
autobiographical sketch, Klostret (1966, The Cloister), but
he also dealt with marital problems in some minor works, as in the
short story 'An Attenmpt at Reform'. In the ironic picture of "a model
marriage" a young couple try to live together but maintain at the same
their independence. They have separate rooms, share expenses and
household work equally, and throw away the double bed, "that
abomination which has no counterpart in nature and is responsible for a
great deal of dissipation and immorality." After the birth of their
baby, the husband asks himself: "Didn't she do her full share of of the
work by mothering the baby? Wasn't that as good as money?" And the wife
soon gets over the fact that he had to keep her.
Haunted by guilt about deserting his children and attacked by
his
critics, Strindberg became possessed of a persecution mania. He also
suffered from insomnia and psoriasis, and spent some weeks in the St.
Louis Hospital in Paris. Between the years 1892 and 1897 Strindberg
experienced several psychotic episodes, and recorded his tormented
thoughts later in Inferno. Turning to painting, Strindberg
created in the 1890s seascapes, which have been compared to the works
of Turner. His favorite motifs included a vision from a cave toward the
outside world and a wave breaking in open sea. With the help of
Swedenborgian studies, and adopting the idea that certain people are
destined to suffer, he emerged from the crisis.
While
spending the summer of 1892 on Dalarö, he produced about
thirty paintings. His first exhibition Strindberg held in the same
year. It was not a success; only two canvases were bought. Alone in
Paris in the mid-1890s, Strindberg became interested in alchemy and
tried to prove that it is possible to make gold. He was permitted to
work in the laboratory of the Sorbonne, and his paper on the nature of
sulphur was reported in Le Petit Temps (January 30, 1895).
For a time he was respected by the scientific community. He was also
interested in monkeys, developing a theory that the gorilla was
descended from a shipwrecked sailor and an ordinary female monkey.
For his neighbor, Paul
Gauguin, Strindberg wrote a an insightful letter which the artist uses as a
preface to his catalogue. "I cannot grasp your art and I cannot like
it," Strindberg said. "But I know that this confession will neither
surprise nor injure you, for you seem to me to be thoroughly fortified
by the hatred of others; in its desire to be left alone, your character
takes pleasure in the antipathy that it provokes." After stopping
painting in 1905, Strindberg built with the photographer Herman
Andersson the "Wunderkamera", with which he made photographic portraits.
In the novel I
havsbandet (1890,
By the Open Sea) Strindberg expressed his fascination with the sea and
Swedish archipelago, which he had depicted in Hemsöborna
(1887, The Natives of Hemsö), a return to his favorite place of his
youth, the island of Kymmendö, where he had began to write Mäster
Olaf.
"A dark cliff came into view on the headland of the last island. It was
coal-black, made of the volcanic rock diorite, and as he drew near it
he became depressed. The black chrystallised mass seemed to have been
spewed up from the bottom of the sea and then, as it had begun to
petrify, had been involved in a fearful struggle with the water or some
thunder-cloud." (from By the Open Sea)
Strindberg moved to Stockholm and wrote during the following
productive years from 1898 to 1909 thirty-six plays. In the Damascus
trilogy 1898-1901, Påsk (1901, Easter), and Ett drömspel
(1901,
A Dream Play) Strindberg made use of details of his second marriage.
The protagonist of the trilogy is called the 'Stranger' or 'The Unknown
One', a man on a journey to discover his fate. He has left his wife and
children and goes through a series of trials. Påsk dealt with
the theme of death and resurrection. The play tells a story of a woman,
who lives with her children in fear of the coming of the creditor, who,
in fact, brings reconciliation and the remission of debt.
"In old Greek the word drama
seems to have meant event, not action or what we call conscious
intrigue. For life does not move as regularly as a constructed drama,
and conscious spinners of intrigue very seldom get a chance to carry
out their plans in detail. Thus we no longer believe in these cunning
plotters who, unhindered, are permitted to control people's destinies,
so that the villain in his conscious falseness merely arouses our
ridicule as not being true to life." (from
'On Modern Drama and Modern Theatre', 1889, in Samlade
Skrifter, XVII, 1913)
In A Dream Play Strindberg attempted to imitate the
logical
form of a dream. Time and space are not important in the dramaturgy,
the characters split, all thoughts and perceptions emanate from a
single individual's unconscious, the dreamer's. Behind the character of
the luminous protagonist, Daughter of Indra, who descends to earth, was
the young actress Harriet Bosse, who became the author's third wife.
The emphasis on subjectivity in the play foreshadowed Freud's theories about the gap between
the conscious and unconscious.
Strindberg's series of historical plays from this period
included Gustav Vasa (1899), Erik XIV (1899), a
portrait of a man who was half-genius, half-psychopath, and Gustaf
Adolf (1900), said to be unplayable, in which the king is an
instument of the ideal of religious freedom. In the novel Svarta
fanor (1904,
Black Banners) Strindberg took his revenge after decades of negative
critic and condemned with a Biblical fury his colleagues, wrong
prophets, and parasites of culture. Strindberg continied his religious
and natural philosophical speculations in Zones of the Spirit (1907-1912)
and its sequels. Götiska rummen (1904) was written as a
companion piece to Röda rummet from 1879, but Strindberg's
youthful vigour had gone, and had been replaced by bitterness and
misantrophy.
During 1907-08 Strindberg undertook a series of experiments in
order
to establish an intimate theater, based on his innovations on the form
of chamber music. He discharged the single protagonist in favor of a
small group of equally important characters, creating a drama that
would impress by its mood and atmosphere. In contrast to the ill and
corrupt characters who people the dramas, Strindberg created an
individual, who is capable of perceiving supernatural phenomena, and of
stripping away the facades of lies and deceits. Among Strindberg's
works from 1907 were such chamber plays as Oväder (1906,
The Thunderstorm), Brända tomten (1907, After the Fire), in
which everything is worse that the protagonist expects, Spöksonaten
(1907, The Ghost Sonata), an unmasking of a middle-class
pretensions, and Pelikanen (1908,
The Pelican), in which the final purgation happens through fire.
Strindberg called his plays "kammerspiel" after Max Reinhardt's
"Kammerspiel-Haus" in Berlin. Stora landsvägen (1909, The
Great Highway) was Strindberg's final allegorical self-portrayal. Ofter
characterized as the author's literary testament, Strindberg himself
appeared in the figure of the hunter who climbs down from the mountain
– like Zarathustra.
In 1908 Strindberg settled into a house he called "the Blue
Tower"
and lived there until his death from stomach cancer on May 14, 1912.
According to his wish, Strindberg was buried beneath wooden crucifixes
with the inscription O Crux Ave Spes Unica. Faithful to his role as an
iconoclast and a disturber, Strindberg fuelled the so-called Strindberg
Feud from 1910 to his death with a series of newspaper articles on
social, literary, and political issues. His major adversary was
Heidenstam,
whom he called "Sweden's most unintelligent man." Strindberg described
Heidenstam's friend, the critic and author Oscar Levertin as
his "greatest enemy" in his Occult Diary. On the day
when Levertin died, he noted that something that had been
oppressing him had gone and he fell into a holiday mood.
Like Leo Tolstoy (1828-1910), Strindberg never
received the Nobel Prize for literature. However, he had actively
supported the Trades Union movement and was awarded its alternative
Nobel Prize. Strindberg wrote more than 70 plays as well as novels,
short-stories and studies of Swedish history. His influnce has been
wide. As a dramatist he was a source of inspiration to the German
expressionists, and to Eugene O'Neill, Eugène Ionesco, and Tennessee
Williams, and his impact is seen among others in the works of such
playwrights as Harold Pinter, Samuel Beckett, John Osborne, and John
Arden. Pär Lagerkvist wrote about Strindberg in Modern Theatre
(1966): "And it is a fact that he has meant the renewal of the modern
drama, and thereby also the gradual renewal of the theatre. It is from
him and through him that naturalism received the critical blow, even
though it is also Strindberg who gave naturalism its most intense
dramatic works."
For further reading: Strindberg: A Life by Sue Prideaux
(2012); Om Strindberg, ed. by Lena Einhorn (2010); August
Strindberg: Painter, photographer, writer by Olle Granath (2005); The
Psychology and the Grotesque in August Strindberg's The Ghost Sonata by
Terry John Converse (1999); August Strindberg by Björn Meidal
(1995); Harriet Bosse: Strindberg's Muse and Interpreter by C.
Waal (1990); Strindberg as a Modern Poet by J.E. Bellquist
(1986); Strindberg and Autobiography by M. Robinson (1986); The
Novels of August Strindberg by E. Johanneson (1986); Strindberg
by M. Meyer (1985); August Strindberg by M M.Morgan (1985); August
Strindberg by O.G.H. Lagerkrantz (1984); The Greatest Fire: A
Study of August Strindberg by B. Steene (1982); Strindbergian
Drama: Themes and Structures by E. Tornqvist (1982); Strindberg
and the Poetry of Myth by H. Carlson (1982); Strindberg as
Dramatist by E. Sprinchorn (1982); August Strindberg by W.
Johnson (1978); Strindberg's Inferno by G. Brandell (1974); August
Strindberg by M. Lamm (1971); The Novels of August Strindberg
by E. Johasseson (1968); Strindberg: An Introduction to His Life
and Work by B.W. Mortenson and B.W. Downs (1949); The Strange
Life of August Strindberg by E. Sprigg (1949); Strindberg
by G.A. Campbell (1933); Strindberg's Dramatic Expressionism by
C.E.W. Dahlstram (1930) - See: Zachris Topelius. Suom.: Teoksen Toteutuneista unelmia
suomensi Yrjö Sirola, Neuvosto-Karjalaan vuonna 1918 paennut entinen
kansanedustaja, jonka mukaan nimettiin Sirola-opisto. Avioelämää
(1907), suomentanut Joel
Lehtonen. Vieroksuttu, 1906; Vaiheita,
1907; Keikari sekä muita kertomuksia, 1911; Satuja,
1912; suom. Larin-Kyösti. Eri asein (1914), suom. Aarni Kouta. Yleisestä
tyytymättömyydestä (1997) ilmestyi alunperin 1884 otsikolla "Om
det allmänna missnöjet, dess orsaker och botemedel".
Selected works:
- Fritänkaren, 1869 (as Härved Ulf) [The Freethinker]
- En namnsdagsgåva, 1869 [play; A Namesday Gift]
- I Rom, 1870 [In Rome]
- Hermione, 1870
- Den fredlöse, 1871 (as Härved Ulf)
- The Outlaw (translated by Edith and Wärner Oland, in Plays, 1912)
- Mäster Olof, 1872
- Master Olof (translated by Edwin Björkman, 1915; Walter Johnson, in
The Vasa Trilogy, 1959)
- Mestari Olavi (suom. Yrjö Koskelainen, 1909; Veijo Meri, 1978)
- Anno fyrtioåtta, 1876-77 [The Year ´48]
- Från Fjärdingen och
Svartbäcken, 1877 (shot stories)
- Röda rummet, 1879
- The Red Room (translated by Ellie Schleussner, 1913; Elizabeth
Sprigge, 1967; Peter Graves, 2009)
- Punainen huone: kuvauksia taiteilija- ja
kirjailijaelämästä (suom. 1909; Viljo
Kajava, 1939, rev. ed., 1960)
- Gillets hemlighet, 1880 [The Secret of the Guild]
- Gamla Stockholm, 1882 [Old Stockholm]
- Lycko-Pers resa, 1882
- Lucky Pehr (translated by Velma Swanston Howard, 1913) /
Lucky Per's Journey (translated by Arvid Paulson, in Eight
Expressionist Plays, 1965)
- Pietari Onnekas (suom. Tove Idström)
- Svenska folket: i helg och söcken, i krig
och
fred, hemma och ute, eller, Ett tusen år av svenska bildningens och
sedernas historia, 1882 [The Swedish People]
- Det nya riket: skildringar från attentatens och jubelfeste,
1882
- Svenska öden och äventyr, 1882-94 [Swedish Destinies and Adventures]
- Menneiden vuosisatain vaiheita (suom. Santeri Ivalo, 1895)
/ Onnellisten saari: kaksi kertomusta
kokoelmasta "Svenska öden och äfventyr" (suom. Ilmari Ahma, 1912) / Onnellisten
saari ja muita kertomuksia (suom. Antero Tiusanen, 1990)
- Dikter på vers och prosa, 1883 [Poems in Verse and Prose]
- Sömngångarnätter på vakna
dagar, 1884 [Somnanbulist Nights in Broad Daylight]
- Lilla katekes för underklassen, 1884 [A Little Cathecism for the Underclass]
- Mitt Judehat, 1884 [My Anti-Semitism]
- Giftas, 1884-85
- Getting Married (edited and translated by Mary Sandbach, 1972)
-
Naimiskauppoja: avioliittotarinoita (suom. Topo Leistilä, 1933) /
Naimakauppoja (suom. V.V. Vankkoja, 1947) / Avioelämää 1-2 (suom.
Siimes Kanervio & Joel Lehtonen, 1907-1912) / Vihkimättä ja
vihitty: kuunnelma (Utan vigsel och med; suom. V.V. Vankkoja,
1980)
- film 1955, based on the short story 'Mot
betalning', dir. by Anders Henrikson, starring Anita Björk, Anders
Henrikson, Edvin Adolphson, Elsa Carlsson; film 1956, based on the
short story 'Ett Dockhem, dir. by Anders Henrikson, starring Mai
Zetterling, Gunnel Broström, George Fant
- Utopier i verkligheten:
fyra berattelser, 1885 [Utopias in Reality]
- Toteutuneita unelmia (suom. Yrjö Sirola, 1907)
- Jäsningstiden: en själs utvecklingshistoria, 1867-1872,
1886 [The Growth of a Soul]
- I Röda rummet, 1886 [In the Red Room]
- Tjänstekvinnans son,
1886
- The Son of a Servant (translated by Claud Field, 1913) - Palkkapiian poika 1-2 (suom. Kristiina Kivivuori, 1965)
- Sista ordet i kvinnofrågan, 1886 [Final Word on the Woman Question]
- Marodörer, 1887 [Marauders]
- Kamraterna, 1887
- Comrades (translated by Edith and Wärner Oland, in Plays, 1912;
Michael Meyer, in The Plays of Strindberg, 1976)
- Fadren, 1887
- The Father (translated by Edith and Wärner
Oland, in Plays, 1912; Valborg Anderson, 1964; Michael Meyer, in The
Plays, 1964-75; Walter Johnson, in Pre-Inferno Plays, 1970; Michael
Robinson, in Miss Julie and Other Plays, 1998; N. Erichsen, 2010)
- Isä (suom. Yrjö Koskelainen, 1909)
- film 1969, dir. by Alf
Sjöberg, Georg Rydeberg, Gunnel
Lindblom, Lena Nyman, Jan-Olof
Strandberg
- Hemsöborna, 1887
- The People of Hemsö (translated by Elspeth Harley Schubert, 1959) /
The Natives of Hemsö (translated by Arvid Paulson, 1967)
- Hemsöläiset: saaristolaiskertomus (suom. Arkadius, 1895;
Tauno Tainio, 1929)
- films: 1944, dir. by Sigurd Wallén, starring Adolf
Jahr, Dagmar Ebbesen, Peter Höglund, Sigurd Wallén; 1955 dir. by Arne
Mattsson, starring, Erik Strandmark, Hjördis Petterson, Nils Hallberg,
John Norrman, Ulla Sjöblom, Birgitta Pettersson
- En dåres försvarstal / Le
plaidoyer d'un fou, 1887
- A Madman’s Defence (translated Ellie Schleussner, 1912) / A Madman’s
Manifesto (translated by Anthony Swerling, 1971
)
- Hullun puolustuspuhe (suom. Kyllikki Villa, 1979)
- Vivisektioner, 1887-1890 [Vivisections]
- Fröken Julie, 1888
- Countess Julie (translated by
Edith and Wärner Oland, in Plays, 1912; Charles Recht, 1912
) / Miss Julie (translated by Edwin Björkman, in Plays by August
Strindberg: Second Series, 1913; E. M. Sprinchorn, 1961; Michael
Meyer, in The Plays, 1964-75; Michael Robinson, in Miss Julie and Other
Plays, 1998; Max Faber, in Miss Julie & Other Plays, 1960;
Truda Stockenstrom, 1996; Carl Richard Mueller, in Five Major Plays,
2000; Frank McGuinness, 2003) / Lady Julie (translated by Walter
Johnson, in Pre-Inferno Plays, 1970)
- Neiti Julie (suom. Helena Anhava, 1988)
- films: Fräulein Julie, 1922, dir. by Felix Basch,
starring Asta Nielsen, William Dieterle, Lina Lossen; 1951, dir. by Alf
Sjöberg, starring Anita Björk, Ulf Palme, Märta Dorff, Lissi Alandh;
2000, dir. by Mike Figgs, staring Saffron Burrows, Peter Mullan, Marie
Doyle Kennedy, Tam Dean Burn; 2009, dir. by Michael Margotta
- Skärkarlsliv, 1888 [Life in the Skerries]
- Saaristolaiselämää (suom. Larin-Kyösti, 1919)
- Tschandala: berättelse från 1600-talet, 1888
- Tschandala: A Novella (translated from the Swedish and with an
introduction by Peter Graves, 2007)
- Tscahndala (suom. Aarni Kouta, 1916)
- Blomstermålningar och djur-stycken, 1888 [Flower Paintings and Animal Pieces]
- Kvinnans underlägsenhet under mannen, 1888 [Woman's Inferiority to Man]
- Paria, 1889
- Paria (translated by Horace B. Samuel, 1914) / Pariah (translated by
Edith and Wärner Oland, 1912; Edwin Björkman, in Plays by August Strindberg: Second Series, 1913;
Walter Johnson, in Plays from the Cynical Life, 1983)
- Samum, 1889
- Simoom (translated by Edwin Björkman, in
Plays by August Strindberg: Third Series, 1913) / Simoon (translated by
Horace B. Samuel, 1914; Walter Johnson, in Plays from the Cynical Life,
1983)
- Hemsöborna, 1889 [play; The People of Hemsö]
- Bland franska bönder, 1889 [Among French Peasants]
- Den starkare, 1889
- The Stronger (translated by Edith and Wärner Oland, in Plays, 1912;
Edwin Björkman, in Plays by
August Strindberg: Second Series, 1913;
Max Faber, in Miss Julie & Other Plays, 1960; Walter Johnson, in
Pre-Inferno Plays, 1970; Carl Richard Mueller, in Five Major Plays,
2000; Frank McGuinness, 2003)
- Voimakkaampi (suom. Tuija Rovamo, 1984)
- film 1999, dir. by Minna Göransdotter,
starring Barbora Kodetová, Petra Lustigova, Liliya Malkina
, Jan Unger
- Fordringsägare, 1890
- The Creditor (translated by Francis J. Ziegler, 1910) / Creditors
(translated by Edwin Björkman, in Plays
by August Strindberg: Second Series, 1913;
Max Faber, in Miss Julie & Other Plays, 1960; Michael Meyer, in The
Plays, 1964-75; Walter Johnson, in Pre-Inferno Plays, 1970;
William-Alan Landes, 2007)
- Velkojat (suom. Marja Rankkala, 1950)
- film 1988, dir. by Stefan Böhm, Keve Hjelm, staring
Bibi Andersson, Thomas Bolme, Keve Hjelm
- I havsbandet,
1890
- On the Seaboard: A Novel of the Baltic Islands (translated
by Elizabeth Clarke Westergren, 1913) / By the Open Sea (translated by
Ellie Schleussner, 1913; Mary Sandbach, 1984)
- Ulkosaaristossa (suom. Antero Tiusanen, 1999)
- Debet och kredit, 1892
- Debit and Credit (translated by
Edwin Björkman, in Plays by August Strindberg: Third Series, 1913;
Walter Johnson, in Plays from the Cynical Life, 1983)
- Inför döden, 1892
- Facing Death (translated by Velma
Swanston Howard, 1907; Edith and Wärner Oland, in Plays, 1912; Walter
Johnson, in Plays from the Cynical Life, 1983)
- Himmelrikets nycklar, 1892
- The Keys of Heaven (translated by Arvid Paulson, in Eight
Expressionist Plays, 1965)
- Bandet, 1892
- The Bond (translated by Walter Johnson, in Pre-Inferno Plays, 1970)
- Första varningen, 1893
- The First Warning (translated by Edwin Björkman, in Plays by August Strindberg: Fouth Series, 1916; Walter
Johnson, in Plays from the Cynical Life, 1983)
- Leka med elden, 1893
- Playing with Fire (translated by Michael Meyer, in The Plays,
1964-75; Walter Johnson, in Plays from the Cynical Life, 1983)
- Antibarbarus, 1893 [Antibarbarus]
- Moderskärlek, 1894
- Motherlove (translated by Francis J.
Ziegler, 1910) / Mother Love (translated by Walter Johnson, in
Plays from the Cynical Life, 1983)
- Äidinrakkaus (suom. Taisto-Bertil Orsmaa, 1980)
- Le soufre est-il un corps simple?, 1895 [Is Sulphur an Element?]
- L'Avenir du soufre, 1895 [The Future of Sulphur]
- On ljusvärkan vid forografering, 1896 [On the Action of Light in Photography]
- Un Regard vers le ciel, 1896 [A Glance into Space]
- L'irradiation et l'extension de l'âme, 1896 [The Irradiation and Extension of the Soul]
- Synthè d'or, 1896 [The Synthesis of Gold]
- Sylva Sylvarum, 1896 [Sylva Sylvarum]
- Jardin des Plantes, 1896 [Jardin des Plantes]
- Ockulta dagboken, 1896-1908
- From an Occult Diary (translated by Mary Sandbach, 1979)
- Synthèse de l'iode, 1897 [The Synthesis of Iodine]
- Inferno, 1898
- Inferno, Alone, and Other Writings (edited
by Evert Sprinchorn, 1968) / Inferno; From an Occult Diary (translated
by Mary Sandbach, 1979)
- Till Damaskus 1-3, 1898-1901
- The Road to Damascus
(translated by Graham Rawson, 1939) / To Damascus (translated by
Michael Meyer, in The Plays, 1964-75; Arvid Paulson, in Eight
Expressionist Plays, 1965; Walter Johnson, in Plays of Confession and
Therapy, 1979)
- Legender, 1898
- Legends: Autobiographical Sketches (tr. 1912)
- Legendoja (suom. Irmeli Niemi, 1972; Kauko Kare, 1988)
- Advent, ett mysterium, 1898
- Advent (translated by Edwin
Björkman, in Plays by August Strindberg: Third Series, 1913; Claud
Field, 1914; Walter Johnson, in Dramas of Testimony, 1976)
- Gustav Vasa, 1899
- Gustavus Vasa (translated by Edwin Björkman, in Plays by August Strindberg: Fouth Series, 1916) /
Vasa (translated by Walter Johnson, in The Vasa Trilogy, 1959)
- Kustaa Vaasa (suom. J.R. Pihlaja)
- TV drama 1969, prod. Yleisradio (YLE), dir. by Mirjam
Himberg, featuring Tauno Palo, Anja Pohjola, Arto Tuominen, Vesa Mäkelä
- Erik XIV, 1899
- Erik XIV (translated by Walter Johnson, in The Vasa Trilogy, 1959)
- Erik XIV (suom. Wilho Ilmari)
- films: Karin Månsdotter, 1954, dir. by Alf Sjöberg,
starring Ulla Jacobsson, Jarl Kulle, Ulf Palme, Olof Widgren; TV drama
1965, prod. Yleisradion (YLE), dir. by Mirjam Himberg, featuring Lasse
Pöysti, Liisamaija Laaksonen, Matti Oravisto
- Gustaf Adolf, 1900
- Gustav Adolf (translated by Walter Johnson, 1957)
- Kustaa Adolf (suom.)
- Brott och brott, 1900
- There Are Crimes and Crimes
(translated by Edwin Björkman, in Plays by August Strindberg: Second
Series, 1913; Walter Johnson, in Dramas of Testimony, 1976)
- film 1928, dir. by Gustaf Molander, starring Lars
Hanson, Elissa Landi, Ivan Hedqvist, Gina Manès
- Dödsdansen 1-2, 1900
- The Dance of Death (translated
by Edwin Björkman, in Plays by August Strindberg, 1912; Michael Meyer,
in The Plays, 1964-75; Norman Ginsbury, 1966; Walter Johnson, in Dramas
of Testimony, 1976; Arvid Paulson; 1976; Michael Robinson, in Miss
Julie and Other Plays, 1998; Richard Greenberg, 2003)
- Kuolemantanssi (suom. Lauri Sipari, 1997)
- films: Danse de mort, 1948, dir. by Marcel
Cravenne, starring Erich von Stroheim, María Denis, Jean Servais,
Denise Vernac; 1969, dir. by David Giles, starring Laurence Olivier,
Geraldine McEwan, Robert Lang, Janina Faye
- Midsommar, 1900
- Midsummertide (translated by Velma Swanston Howard, 1913) / In
Midsummer Days, and Other Tales (translated by Ellie Schleussner, 1913)
- Juhannuksen aikaan (suom. Tove Idström, 1985)
- Kaspers Fet-Tisdag, 1900 [Casper's Shrove Tuesday]
- Påsk, 1901
- Easter (translated by Edith and Wärner Oland,
in Plays, 1912; Elizabeth Sprigge, 1949; Michael Meyer, in The
Plays, 1964-75; Walter Johnson, in Dramas of Testimony, 1976)
- Folkungasagan, 1901
- The Saga of the Folkungs (translated by Walter Johnson, 1959)
- Kristina, 1901
- Queen Christina (translated by Walter Johnson, 1955)
- Engelbrekt, 1901
- Engelbrekt (translated by Walter Johnson, in The Saga of the Fokungs,
1959)
- Carl XII, 1901
- Charles XII (translated by Walter Johnson, 1955)
- Kaarle XII (suom. Kaarle Halme, 1910)
- Svanevit, 1901
- Swanwhite (translated by Edwin Björkman, in Plays by August
Strindberg: Third Series, 1913)
- Kronbruden, 1902
- The Bridal Crown (translated by Edwin Björkman, in Plays by August Strindberg: Fouth Series, 1916) /
The Crownbride (translated by Walter Johnson, 1981)
- Kruununmorsian (suom.)
- Fagervik och Skamsund,
1902
- Fair Haven and Foul Strand (tr. 1914)
- Karantänmästarnas andra berättelse, 1902 [The Quarantine Master's Second Story]
- Gustav III, 1902
- Gustav III (translated by Walter Johnson, 1955)
- Kustaa III (suom. Tyyni Tuulio)
- TV drama, prod. Yleisradio (YLE), dir. by Mirjam
Himberg, featuring Lasse Pöysti, Asta Backman, Joel Rinne, Matti
Oravisto, Pehr-Olof Sirén
- Ett drömspel, 1902
- The Dream Play (translated by Edwin
Björkman, in Plays by August Strindberg, 1912) / A Dream Play
(translated by Michael Meyer, in The Plays, 1964-75; Arvid Paulson, in
Eight Expressionist Plays, 1965; Walter Johnson, 1973; Michael
Robinson, in Miss Julie and Other Plays, 1998; Carl Richard Mueller, in
Five Major Plays, 2000)
- Uninäytelmä (suom.Viljo Kajava,
1955; Lauri Sipari, 1985; Jusa Peltoniemi, 2000)
- film 1994, dir. by Unni
Straume, starring Ingvild Holm, Bjørn Willberg Andersen, Bjørn
Sundquist, Liv Ullmann, Bibi Andersson, Erland Josephson
- Ensam, 1903
- Alone (translated by Evert Sprinchorn,
in Inferno, Alone, and Other Writings, 1968) / Days of Loneliness
(translated by Arvid Paulson, 1971)
- Yksin (suom. Laura Sorma, 1913) / Kaksi miesmonologia (suom. Antero
Tiusanen, 2002)
- Sagor, 1903
- Tales (translated by L.J. Potts, 1930)
- Satuja (suom. Larin Kyösti, 1912)
- Näktergalen i Wittenberg, 1903
- The Nightingale of Wittenberg (translated by Arvid Paulson, in World
Historical Plays, 1970)
- Världshistoriens mystik, 1903 [The Mysticism of World History]
- Götiska rummen,
1904 [Gothic Rooms]
- Götalaiset huoneet: sukutarinoita vuosisadan vaihteesta (suom.
Aarni Kouta, 1911)
- Historiska miniatyrer, 1905
- Historical Miniatures (translated by Claud Field, 1913)
- Historiallisia pienoiskuvia (suom. Kaapo Murros, 1911; Kauko Kare,
1985)
- Taklagsöl, 1905
- The Roofing Ceremony & The Silver Lake (translated by David Mel
Paul and Margareta Paul, 1987)
- Kaksi miesmonologia (suom. suomentanut Antero Tiusanen, 2002)
- Ordalek och småkonst,
1905 [Word Play and Minor Art]
- Hövdingaminnen, 1906 [Chieftain Memories]
- Nya svenska öden, 1906 [New Swedish Destinies]
- Oväder, 1906
- The Thunderstorm (translated by Edwin
Björkman, in Plays by August Strindberg: Third Series, 1913) Storm
Weather (tr. in The Chamber Plays, 1962 / Thunder in the Air
(translated by Eivor Martinus, 1989)
- Syndabocken, 1907
- The Scapegoat (translated by Arvid Paulson, 1967)
- Hyvien ihmisten kaupunki (suom. Kyllikki Villa, 1968)
- Svarta fanor: Sedeskildringar fran sekelskiftet, 1907
- Black Banners: Genre Scenes from the Turn of the Century (translated
by Donald K. Weaver, 2010)
- Mustat liput (suom. Kyllikki Villa, 1973)
- Brända tomten, 1907
- After the Fire (translated by Edwin
Björkman, in Plays by August Strindberg: Third Series, 1913)
/ The Burned House (tr. in The Chamber Plays, 1962)
- Talo on palanut (suom. Tove Idström, 1984)
- Spöksonaten, 1907
- The Spook Sonata (translated by Edwin Björkman, in Plays by August Strindberg: Fouth Series, 1916) /
The Ghost Sonata (translated by Max Faber, Miss Julie & Other
Plays, 1960; Evert Sprinchorn, Seabury Quinn, Jr., and Kenneth
Petersen, in The Chamber Plays, 1962; Michael Meyer, in The Plays,
1964-75; Arvid Paulson, in Eight Expressionist Plays, 1965; Michael
Robinson, in Miss Julie and Other Plays, 1998; Carl Richard Mueller, in
Five Major Plays, 2000)
- Aavesonaatti (suom. Jouko ja Maija-Liisa Turkka, 1984)
- Toten-Insel, 1907
- The Isle of the Dead (translated by Richard B. Vowles, 1962)
- Blå boken, 1907-1912 (4 vols.)
- Zones of the Spirit: A Book of Thoughts (translated by Claud Field,
1913)
- Siste riddaren, 1908
- The Last of the Knights (translated by Walter Johnson, 2. pr., 1967)
- Riksföreståndaren, 1908
- The Regent (translated by Walter Johnson, 2. pr., 1967)
- Öppna brev till Intima teatern, 1908
- Open Letters to the Intimate Theater (translated by Walter Johnson,
1959)
- Bjälbo-Jarlen, 1908
- Earl Birger of Bjälbo (translated by Walter Johnson, 2. pr.,
1967)
- Abu Casems tofflor, 1908 [play; Aby Casem's Slippers]
- Pelikanen, 1908
- The Pelican (translated by Evert
Sprinchorn, Seabury Quinn, Jr., and Kenneth Petersen, in The Chamber
Plays, 1962; Richard B. Vowles, 1962)
- Pelikaani (suom. Tove Idström, 1984)
- Svarta handsken, 1908 [play; The Black Glove]
- Stora landsvägen, 1909
- The Great Highway (translated by Arvid Paulson, in Eight
Expressionist Plays, 1965; Eivor Martinus, 1990)
- Suuri maantie: Vaellusdraama, jossa on seitsemän
pysähdyspaikkaa (suom. Toini Havu, 1967)
- Fabler och smärre berättelser, 1909 [Fables and Shorter Tales]
- Tal till svenska nationen, 1910 [Speeches to the Swedish Nation]
- Folkstaten, 1910 [The People's State]
- Religiös renässans, 1910 [Religious Renaisssance]
- Bibliska egennamn, 1910 [Biblical Proper Names]
- Modersmålets anor, 1910 [The Origins of Our Mother Tongue]
- Världsspråkens rötter, 1911 [The Roots of World Language]
- Plays: The Father; Countess Julie; The Outlaw; The
Stronger, 1912 (translated by Edith and Wärner Oland)
- Plays: Comrades; Facing Death; Pariah; Easter, 1912
(translated by Edith and Wärner Oland)
- Tsarens kurir, 1912 [The Tsar's Courier]
- Plays by August Strindberg, 1912-16 (7 vols., translated by
Edwin Björkman)
- Plays by August
Strindberg, Second Series, 1913 (translated by Edwin Björkman)
- Plays by August
Strindberg: Third Series, 1913 (translated by Edwin
Björkman)
- Samlade skrifter, 1912-20 (55 vols., edited by John
Landqvist)
- Plays by August
Strindberg: Fouth Series, 1916 (translated by
Edwin Björkman)
- Samlade otryckta skrifter, 1918-19
(2 vols.)
- Skrifter, 1945-46 (14 vols., edited by Gunnar Brandell)
- Strindbergs ungdomsjournalistik i urval, 1946 (edited by
Torsten Eklund)
- Från Fjärdingen till Blå Tornet, 1947 (edited by Torsten
Eklund)
- Brev, 1948 (15 vols.)
- [The Washington Strindberg], 1955-83 (12 vols.,
edited and translated by Walter Johnson; publisher:
University of Washington Press, Seattle)
- Six Plays of Strindberg, 1955 (translated by Elizabet
Sprigge)
- Letters of Strindberg to Harriet Bosse, 1959 (edited and
translated by Arvid Paulson)
- The Vasa Trilogy: Master Olof, Gustav Vasa, Erik XIV, 1959
(translated by Walter Johnson)
- Seven Plays, 1960 (translated by Arvid Paulson, introd. and
prefaces by John Gassner)
- Miss Julie & Other Plays, 1960 (translated by Max
Faber)
- Brev till min dotter Kerstin, 1961
(edited by Tor Bonnier och Åke Thulstrup)
- Twelve Plays, 1962 (translated by Elizabeth Sprigge)
- The Chamber Plays, 1962 (translated by Evert Sprinchorn,
Seabury Quinn, Jr., and Kenneth Petersen)
- Ur ockulta dagboken: äktenskapet med Harriet Bosse, 1963
(edited by Torsten Eklund)
-
Salatusta päiväkirjasta: August Strindbergin avioliitto Harriet Bossen
kanssa (suom. sekä selityksin ja esipuhein varustanut Jyrki
Mäntylä, 1966)
- The Plays, 1964-75 (2 vols., translated by Michael Meyer)
- Eight Expressionist Plays, 1965 (translated by Arvid
Paulson)
- The Strindberg Reader, 1968 (translated and edited by Arvid
Paulson)
- Klostret, 1966
- The Cloister (translated by Mary Sandbach, 1969)
- Luostari (suom. Kyllikki Villa, 1970)
- Strindberg's One-Act Plays, 1969 (translated by Arvid
Paulson, introd. by Barry Jacobs)
- August Strindberg, Pre-Inferno Plays, 1970 (translated by
Walter Johnson)
- Three Experimental Plays, 1975 (translated with an introd.
by F. R. Southerington)
- The Plays of Strindberg, 1976 (2 vols., translated by
Michael Meyer)
- Dramas of Testimony, 1976 (translated by Walter Johnson)
- Plays of Confession and Therapy, 1979 (translated by Walter
Johnson)
- Samlade verk, 1980- (edited by Lars Dahlback, et al.)
- Plays from the Cynical Life, 1983 (translations and
introduction by Walter Johnson)
- Strindberg's Letters, 1992 (edited by Michael Robinson)
- Selected Essays by August Strindberg, 1996 (edited by
Michael Robinson)
- Miss Julie and Other Plays, 1998 (translated
by Michael Robinson)
- Vänligen August Strindberg: ett år, ett liv i
brev, 1999 (edited by Björn Meidal & Carl Olof Johansson)
- Köra och vända: Strindbergs efterlämnade papper, 1999
(edited by Magnus Florin and Ulf Olsson)
- Min eld är den största: brev 1858-1912, 1999 (edited
by Kerstin Dahlbäck)
- Brev: 1884-1890 / Verner von Heidenstam, August Strindberg,
1999 (edited by Magnus von Platen and Gudmund Fröberg)
- August Strindberg: Five Major Plays, 2000 (translated by
Carl Richard Mueller)
- Strindbergs brev. XXI Supplement 1857-1893, 2001
- Strindbergs brev. XXII Supplement 1893-1912, 2001
- Strindberg: målaren och fotografen, 2001 (ed. Per Hedström)
- Strindberg: Painter and Photographer (catalogue editor, Per Hedström,
2001)
- Selected Poems of August Strindberg, 2002 (edited and
translated by Lotta M. Löfgren)
- Jag
har alltid tillbett kvinnorna, dessa förtjusande brottsliga tokor:
valda noveller, brev och andra texter, 2005 (selected by Peter
Glas)
- Strindberg on Drama and Theatre: A Source Book, 2007
(selected, translated, and edited by Egil Törnqvist and Birgitta Steene)
- Språkvetenskapliga skrifter. 1-2, 2009 (edited by Camilla
Kretz and Bo Ralph)
- Naturvetenskapliga skrifter. I, Antibarbarus; Sylva
Sylvarum; Jardin des Plantes, 2010 (edited by Per Stam)
Some rights reserved Petri Liukkonen
(author) & Ari Pesonen. Kuusankosken kaupunginkirjasto 2008
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