Part III

was added somewhat later, in the years 1900-1901. In 1898 Strindberg had only half emerged from what was by far the severest of the many crises through which in his troubled life he had to pass. He had overcome the worst period of terror, which had brought him dangerously near the borders of sanity, and he felt as if he could again open his eyes and breathe freely. He was not free from that nervous pressure under which he had been working, but the worst of the inner tension had relaxed and he felt the need of taking a survey of what had happened, of summarising and trying to fathom what could have been underlying his apparently unaccountable experiences. The literary outcome of this settling of accounts with the past was _The Road to Damascus_.

_The Road to Damascus_ might be termed a marriage drama, a mystery drama, or a drama of penance and conversion, according as preponderance is given to one or other of its characteristics. The question then arises: what was it in the drama which was of deepest significance to the author himself? The answer is to be found in the title, with its allusion to the narrative in the Acts of the Apostles of the journey of Saul, the persecutor, the scoffer, who, on his way to Damascus, had an awe-inspiring vision, which converted Saul, the hater of Christ, into Paul, the apostle of the Gentiles. Strindberg's drama describes the progress of the author right up to his conversion, shows how stage by stage he relinquishes worldly things, scientific renown, and above all woman, and finally, when nothing more binds him to this world, takes the vows of a monk and enters a monastery where no dogmas or theology, but only broadminded humanity and resignation hold sway. What, however, in an inner sense, distinguishes Strindberg's drama from the Bible narrative is that the conversion itself--although what leads up to it is convincingly described, both logically and psychologically--does not bear the character of a final and irrevocable decision, but on the contrary is depicted with a certain hesitancy and uncertainty. THE STRANGER'S entry into the monastery consequently gives the impression of being a piece of logical construction; the author's heart is not wholly in it. From Strindberg's later works it also becomes evident that his severe crisis had undoubtedly led to a complete reformation in that it definitely caused him to turn from worldly things, of which indeed he had tasted to the full, towards matters divine. But this did not mean that then and there he accepted some specific religion, whether Christian or other. One would undoubtedly come nearest to the author's own interpretation in this respect by characterising _The Road to Damascus_ not as a drama of conversion, but as a drama of struggle, the story of a restless, arduous pilgrimage through the chimeras of the world towards the border beyond which eternity stretches in solemn peace, symbolised in the drama by a mountain, the peaks of which reach high above the clouds.

In this final settling of accounts one subject is of dominating importance, recurring again and again throughout the trilogy; it is that of woman. Strindberg him, of course, become famous as a writer about women; he has ruthlessly described the hatreds of love, the hell that marriage can be, he is the creator of _Le Plaidoyer d'un Fou_ and _The Dance of Death_, he had three divorces, yet was just as much a worshipper of woman--and at the same time a diabolical hater of her seducing qualities under which he suffered defeat after defeat. Each time he fell in love afresh he would compare himself to Hercules, the Titan, whose strength was vanquished by Queen Omphale, who clothed herself in his lion's skin, while he had to sit at the spinning wheel dressed in women's clothes. It can be readily understood that to a man of Strindberg's self-conceit the problem of his relations with women must become a vital issue on the solution of which the whole Damascus pilgrimage depended.

In 1898, when Parts I and II of the trilogy were written, Strindberg had been married twice; both marriages had ended unhappily. In the year 1901, when the wedding scenes of