Plays by August Strindberg, Second series

by August Strindberg

[Pause. MISS Y. gazes searchingly at MRS. X.]

MRS. X. [Thoughtfully] It was so peculiar, the way our acquaintance— why, I was afraid of you when I first met you; so afraid that I did not dare to let you out of sight. It didn't matter where I tried to go—I always found myself near you. I didn't have the courage to be your enemy—and so I became your friend. But there was always something discordant in the air when you called at our home, for I saw that my husband didn't like you—and it annoyed me just as it does when a dress won't fit. I tried my very best to make him appear friendly to you at least, but I couldn't move him—not until you were engaged. Then you two became such fast friends that it almost looked as if you had not dared to show your real feelings before, when it was not safe—and later—let me see, now! I didn't get jealous—strange, was it not? And I remember the baptism—you were acting as godmother, and I made him kiss you—and he did, but both of you looked terribly embarrassed—that is, I didn't think of it then—or afterwards, even—I never thought of it-till—now! [Rises impulsively] Why don't you say something? You have not uttered a single word all this time. You've just let me go on talking. You've been sitting there staring at me only, and your eyes have drawn out of me all these thoughts which were lying in me like silk in a cocoon—thoughts—bad thoughts maybe—let me think. Why did you break your engagement? Why have you never called on us afterward? Why don't you want to be with us to-night?

[MISS Y. makes a motion as if intending to speak.]

MRS. X. No, you don't need to say anything at all. All is clear to me now. So, that's the reason of it all. Yes, yes! Everything fits together now. Shame on you! I don't want to sit at the same table with you. [Moves her things to another table] That's why I must put those hateful tulips on his slippers—because you love them. [Throws the slippers on the floor] That's why we have to spend the summer in the mountains—because you can't bear the salt smell of the ocean; that's why my boy had to be called Eskil—because that was your father's name; that's why I had to wear your colour, and read your books, and eat your favourite dishes, and drink your drinks—this chocolate, for instance; that's why—great heavens!— it's terrible to think of it—it's terrible! Everything was forced on me by you-even your passions. Your soul bored itself into mine as a worm into an apple, and it ate and ate, and burrowed and burrowed, till nothing was left but the outside shell and a little black dust. I wanted to run away from you, but I couldn't. You were always on hand like a snake with your black eyes to charm me—I felt how my wings beat the air only to drag me down—I was in the water, with my feet tied together, and the harder I worked with my arms, the further down I went—down, down, till I sank to the bottom, where you lay in wait like a monster crab to catch me with your claws—and now I'm there! Shame on you! How I hate you, hate you, hate you! But you, you just sit there, silent and calm and indifferent, whether the moon is new or full; whether it's Christmas or mid-summer; whether other people are happy or unhappy. You are incapable of hatred, and you don't know how to love. As a cat in front of a mouse-hole, you are sitting there!—you can't drag your prey out, and you can't pursue it, but you can outwait it. Here you sit in this corner—do you know they've nicknamed it "the mouse-trap" on your account? Here you read the papers to see if anybody is in trouble, or if anybody is about to be discharged from the theatre. Here you watch your victims and calculate your chances and take your tributes. Poor Amèlia! Do you know, I pity you all the same, for I know you are unhappy—unhappy as one who has been wounded, and malicious because you are wounded. I ought to be angry with you, but really I can't—you are so small after all— and as to Bob, why that does not bother me in the least. What does it matter to me anyhow? If you or somebody else taught me to drink chocolate—what of that? [Takes a spoonful of chocolate; then sententiously] They say chocolate is very wholesome. And if I have learned from you how to dress—tant mieux!—it has only given me a stronger hold on my husband—and you have lost where I have gained. Yes, judging by several signs, I think you have lost him already. Of course, you meant me to break with him—as you did, and as you are now regretting—but, you see, I never would do that. It won't do to be narrow-minded, you know. And why should I take only what nobody else wants? Perhaps, after all, I am the stronger now. You never got anything from me; you merely gave—and thus happened to me what happened to the thief—I had what you missed when you woke up. How explain in any other way that, in your hand, everything proved worthless and useless? You were never able to keep a man's love, in spite of your tulips and your passions—and I could; you could never learn the art of living from the books—as I learned it; you bore no little Eskil, although that was your father's name. And why do you keep silent always and everywhere— silent, ever silent? I used to think it was because you were so strong; and maybe the simple truth was you never had anything to say—because you were unable to-think! [Rises and picks up the slippers] I'm going home now—I'll take the tulips with me-your tulips. You couldn't learn anything from others; you couldn't bend and so you broke like a dry stem—and I didn't. Thank you, Amèlia, for all your instructions. I thank you that you have taught me how to love my husband. Now I'm going home—to him! [Exit.]

(Curtain.)

CREDITORS

INTRODUCTION

This is one of the three plays which Strindberg placed at the head of his dramatic production during the middle ultra-naturalistic period, the other two being "The Father" and "Miss Julia." It is, in many ways, one of the strongest he ever produced. Its rarely excelled unity of construction, its tremendous dramatic tension, and its wonderful psychological analysis combine to make it a masterpiece.

In Swedish its name is "Fordringsägare." This indefinite form may be either singular or plural, but it is rarely used except as a plural. And the play itself makes it perfectly clear that the proper translation of its title is "Creditors," for under this aspect appear both the former and the present husband of Tekla. One of the main objects of the play is to reveal her indebtedness first to one and then to the other of these men, while all the time she is posing as a person of original gifts.

I have little doubt that Strindberg, at the time he wrote this play—and bear in mind that this happened only a year before he finally decided to free himself from an impossible marriage by an appeal to the law—believed Tekla to be fairly representative of womanhood in general. The utter unreasonableness of such a view need hardly be pointed out, and I shall waste no time on it. A question more worthy of discussion is whether the figure of Tekla be true to life merely as the picture of a personality—as one out of numerous imaginable variations on a type decided not by sex but by faculties and qualities. And the same question may well be raised in regard to the two men, both of whom are evidently intended to win our sympathy: one as the victim of a fate stronger than himself, and the other as the conqueror of adverse and humiliating circumstances.