In 1892 he was divorced from his wife.
After a few months Strindberg went to Berlin, where he was received with all honors by literary Germany. Richard Dehmel, one of their foremost minstrels, celebrated the event by a poem called "An Immortal,—To Germany's Guest." In the shop windows his picture hung alongside that of Bismarck, and at the theatres his plays were being produced. About this time he heard of the commotion that "Countess Julie" had created in Paris, where it had been produced by Antoine. During these victorious times Strindberg met a young Austrian writer, Frida Uhl, to whom he was married in April 1898. Although the literary giant of the hour, he was nevertheless in very straightened pecuniary circumstances, which led to his allowing the publication of "A Fool's Confession," written in French, and later, with out his permission or knowledge, issued in German and Swedish, which entangled him in a lawsuit, as the subject matter contained much of his marital miseries. Interest in chemistry had long been stirring in Strindberg's mind; it now began to deepen. About this time also he passed through that religious crisis which swept artistic Europe, awakened nearly a century after his death by that Swedenborgian poet and artist, William Blake. To this period belongs "To Damascus," a play of deepest soul probing, which was not finished however until 1904.
Going to Paris in the fall of 1894, to pursue chemical research most seriously, he ran into his own success at the theatres there. "The Creditors" had been produced and Strindberg was induced to undertake the direction of "The Father" at the Theatre de l'Oeuvre, where it was a tremendous success. A Norwegian correspondent was forced to send word home that with "The Father" Strindberg had overreached Ibsen in Paris, because what it had never been possible to do with an Ibsen play, have a run in Paris, they were now doing with Strindberg. At the same time the Theâtre des Ecaliers put on "The Link," the Odean produced "The Secret of the Guild," and the Chat Noir "The Kings of Heaven," and translations of his novels were running in French periodicals. But Strindberg turned his back on all this success and shut himself up in his laboratory to delve into chemistry. This he did with such earnestness that with his discovery of Swedenborg his experimentations and speculations reduced him to a condition of mind that unfitted him for any kind of companionship, so that when his wife left him to go to their child who was ill and far away, he welcomed the complete freedom. Strindberg says of their parting at the railway station that although they smiled and waved to each other as they called out "Auf wiedersehen" they both knew that they were saying good bye forever, which proved to be true, as they were divorced a year later. In 1896 he returned to Sweden so broken in health through his tremendous wrestling with the riddle of life that he went into the sanitorium of his friend, Dr. Aliasson at Wstad. After two months he was sufficiently restored to go to Austria, at the invitation of his divorced wife's family, to see his child. Then back to Sweden, to Lund, a university town, where he lived solely to absorb Swedenborg. By May of that year he was able to go to work on "The Inferno," that record of a soul's nightmare, which in all probability will remain unique in the history of literature. Then came the writing of the great historical dramas, then the realistically symbolic plays of Swedenborgian spirit, of which "Easter" is representative, and the most popular.
When "Easter" was produced in Stockholm a young Norwegian, Harriet Bosse, played Eleanora, the psychic, and in 1901 this young actress became Strindberg's wife. This third marriage ended in divorce three years later. In 1906, the actor manager, August Folk, produced "Countess Julie" in Stockholm, seventeen years after it had been written. To Strindberg's amazement, it won such tremendous attention that the other theatres became deserted. In consequence of this success an intimate theatre was founded for the production of none but Strindberg's plays.
How he is estimated today in his own country may be judged by the following extract from an article which appeared in a recent issue of the leading periodical of Stockholm:
"For over thirty years he has dissected us from every point of view; during that time his name has always been conspicuous in every book-shop window and his books gradually push out the others from our shelves; every night his plays are produced at the theatres; every conversation turns on him, and his is the name the pigmies quarrel over daily; the cry is heard that he has become hysterical, sentimental, out of his mind, but the next one knows, he is robustness itself, and enduring beyond belief, despite great need, enmity, sorrow. One hour one is angry over some extravagance which he has allowed himself, the next captivated by one of his plays, stirred, melted, strengthened and uplifted by his sublime genius."