Married

CONTENTS

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.