Part I

it is evident that the hurried wanderings of THE STRANGER and THE LADY between the street corner, the room in the hotel, the sea and the Rose Room with the mother-in-law, have their foundation--often in detail--in Strindberg's rovings with Frida Uhl. I will give a few examples. In a book by Frida Uhl about her marriage to the Swedish genius (splendid in parts but not very reliable) she recalls that the month before her marriage she took rooms at Neustaedtische Kirchstrasse 1, in Berlin, facing a Gothic church in Dorotheenstrasse, situated at the cross-roads between the post office in Dorotheenstrasse and the cafe 'Zum Schwarzen Ferkel' in Wilhelmstrasse. This Berlin environment appears to be almost exactly reproduced in the introductory scene of