literature through a story by Mr. Algernon Blackwood, in his interesting volume, John Silence. The adequate description of this region was reserved for August Strindberg, and among his prose writings there are none to compare with those that have been inspired by the islands and coast he delighted in. Among them, Hemso Folk ranks first. In this work he shows his mastery, not of self-portraiture, but of the portraiture of other men, and his characters are painted with a mastery of subject and material which in a sister art would cause one to think of Velasquez. Against a background of sea and sky stand the figures of a schoolmaster and a priest—the portraits of both depicted with the highest art—and throughout the book may be heard the authentic speech of the soul of Strindberg's North. He may truly be claimed to be most Swedish here; but he may also with equal truth be claimed to be most universal, since Hemso Folk is true for all time, and in all places.
In the following year (1888) was published another volume of tales by Strindberg, entitled Life on the Skerries, and again the sea, and the sun, and the life of men who commune with the great waters are the sources of his virile inspiration. Other novels of a like kind were written later, but at this hour of his life he yielded to the command of the idea—a voice which called him more strongly than did the magnificence of Nature, whose painter he could be when he had respite from the whirlwind.
Tschandala, his next book, was the fruit of a holiday in the country. This novel was written to show a man of uncommon powers of mind in the toils of inferior folk—the proletariat of soul bent on the ruin of the elect in soul. Poverty keeps him in chains. He is forced to deal with neighbours of varying degrees of degradation. A landlady deceives her husband for the sake of a vagrant lover. This person attempts to subordinate the uncommon man; who, however, discovers that he can be dominated through his superstitious fears. He is enticed one night into a field, where the projections from a lantern, imagined as supernatural beings, so play upon his fears that he dies from fright. In this book we evidently have the experimental upsurging of his imagination: supposing himself the victim of a sordid environment, he can see with unveiled eyes what might happen to him. Realistic in his apprehension of outward details, he sees the idea in its vaguest proportions. This creates, this informs his pictures of Nature; this also makes his heaven and hell. Inasmuch as a similar method is used by certain modern novelists, the curious phrase "a novel of ideas" has been coined. As though it were a surprising feature to find an idea expressed in novels! And not rarely such works are said to be lacking in warmth, because they are too full of thought.
After Tschandala come two or three novels of distinctly controversial character—books of especial value in essaying an understanding of Strindberg's mind. The pressure of ideas from many quarters of Europe was again upon him, and caused him to undertake long and desperate pilgrimages. In the Offing and To Damascus are the suggestive titles of these books. Seeing, however, that a detailed sketch of the evolution of Strindberg's opinions is not at this moment practicable, we merely mention these works, and the years 1890 and 1892.
Meanwhile our author has passed through two intervals in his life of a more peaceful character than was usually his lot. The first of these was spent among his favourite scenes in the vicinity of the Gulf of Bothnia, where he lived like a hermit, writing poetry and painting pictures. He might have become a painter of some note, had it not come so natural to him to use the pen. At any rate, during the time that he wielded the brush he put on canvas the scenes which he succeeded in reproducing so marvellously in his written works. The other period of respite was during a visit to Ola Hansson, a Swedish writer of rare distinction, then living near Berlin. The author of Sensitiva Amorosa was the antithesis of Strindberg. A consummate artist, with a wife of remarkable intellectual power, the two enfolded him in their peace, and he was able to give full expression to his creative faculty.
Strindberg now enters upon the period which culminates in the writing of The Inferno. From the peace of Ola Hansson's home he set out on his wedding tour, and during the early part of it came over to England. In a remarkable communication to a Danish man of letters, Strindberg answers many questions concerning his personal tastes, among them several regarding his English predilections. We may imagine them present to him as he looks upon the sleeping city from London Bridge, in the greyness of a Sunday morning, after a journey from Gravesend. His favourite English writer is Dickens, and of his works the most admired is Little Dorrit. A novel written in the period described in The Son of a Servant, and which first brought him fame, was inspired by the reading of David Copperfield! His favourite painter is Turner. These little sidelights upon the personality of the man are very interesting, throwing into relief as they do the view of him adopted by the writer of the foregoing pages. London, however, he disliked, and a crisis in health compelled him to leave for Paris, from which moment begins his journey through the "Inferno."
A play of Strindberg's has been performed in Paris—the height of his ambition. Once attained, it was no longer to be desired; accordingly, he turned from the theatre to Science. He takes from their hiding-place some chemical apparatus he had purchased long before. Drawing the blinds of his room he bums pure sulphur until he believes that he has discovered in it the presence of carbon. His sentences are written in terse, swift style. A page or two of the book is turned over, and we find his pen obeying the impulse of his penetrating sight. … Separation from his wife; the bells of Christmas; his visit to a hospital, and the people he sees there, begin to occupy him. Gratitude to the nursing sister, and the reaching forward of his mind into the realm of the alchemical significance of his chemical studies, arouse in him a spirit of mystical asceticism. Pages of The Inferno might be cited to show their resemblance to documents which have come to us from the Egyptian desert, or from the narrow cell of a recluse. Theirs is the search for a spiritual union: his is the quest of a negation of self, that his science might be without fault. A notion of destiny is grafted upon his mysticism of science. He wants to be led, as did the ascetic, though for him the goal is lore hidden from mortal eyes. He now happens upon confirmation of his scientific curiosity, in the writings of an older chemist. Then he meets with Balzac's novel Séraphita, and a new ecstasy is added to his outreaching towards the knowledge he aspires to. Vivid temptations assail him; he materialises as objective personalities the powers that appear to place obstacles in the way of his researches. Again we observe the same phenomena as in the soul of the monk, yet always with this difference: Strindberg is the monk of science. Curious little experiences—that others would brush into that great dust-bin, Chance—are examined with a rare simplicity to see if they may hold significance for the order of his life. These details accumulate as we turn the pages of The Inferno, and force one to the conclusion that they are akin to the material which we have only lately begun to study as phenomena peculiar to the psychology of the religious life. Their summary inclusion under the heading of "Abnormal Psychology" will, however, lead to a shallow interpretation of Strindberg. The voluntary isolation of himself from the relations of life and the world plays havoc with his health. Soon he is established under a doctor's care in a little southern Swedish town, with its memories of smugglers and pirates; and he immediately likens the doctor's house to a Buddhist cloister. The combination is typically Strindbergian! He begins to be haunted with the terrible suspicion that he is being plotted against. Nature is exacting heavy dues from his overwrought system. After thirty days' treatment he leaves the establishment with the reflection that whom the Lord loveth he chasteneth.
Dante wrote his Divine Comedy; Strindberg his Mortal Comedy. There are three great stages in each, and the literary vehicle of their perilous journeyings is aptly chosen. Readers of the wonderful Florentine will recall the familiar words:
"Surge ai mortali per diverse foci
la lucerna de mondo."[1]
And they have found deeper content in Strindberg's self-discoveries. The first part of his Inferno tells of his Purgatory; the second part closes with the poignant question, Whither? If, for a moment, we step beyond the period of his life with which this study deals, we shall find him telling of his Paradise in a mystery-play entitled Advent, where he, too, had a starry vision
