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Page 6
The final entry into the monastery was more a symbol for the
struggling author's dream of peace and atonement than a real thing
in his life. It is true he visited the Benedictine monastery,
Maredsous, in Belgium in 1898, and its well stocked library came to
play a certain part In the drama, but already he realised, after
one night's sojourn there, that he had no call for the monastic
life.
Seen as a whole the trilogy marks a turning point in Strindberg's
dramatic production. The logical, calculated concentration of his
naturalistic work of the 1880's has given way to a freer form of
composition, in which the atmosphere has come to mean more than the
dialogue, the musical and dreamlike qualities more than
conciseness. _The Road to Damascus_ abounds with details from real
life, reproduced in sharply naturalistic manner, but these are not,
as things were in his earlier works viewed by the author _a priori_
as reality but become wrapped in dreamlike mystery. Just as with
_Lady Julia_ and _The Father_ Strindberg ushered in the naturalistic
drama of the 1880's, so in the years around the turn of the century
he was, with his symbolist cycle _The Road to Damascus_, to break
new ground for European drama which had gradually become stuck in
fixed formulas. _The Road to Damascus_ became a landmark in world
literature both as a brilliant work of art and as bearer of new
stage technique.
GUNNAR OLL�N
Translated by
ESTHER JOHANSON
PART ONE
CHARACTERS
THE STRANGER
THE LADY
THE BEGGAR
THE DOCTOR
HIS SISTER
AN OLD MAN
A MOTHER
AN ABBESS
A CONFESSOR
less important figures
FIRST MOURNER
SECOND MOURNER
THIRD MOURNER
LANDLORD
CAESAR
WAITER
non-speaking
A SMITH
MILLER'S WIFE
FUNERAL ATTENDANTS
SCENES
SCENE I Street Corner SCENE XVII
SCENE II Doctor's House SCENE XVI
SCENE III Room in an Hotel SCENE XV
SCENE IV By the Sea SCENE XIV
SCENE V On the Road SCENE XIII
SCENE VI In a Ravine SCENE XII
SCENE VII In a Kitchen SCENE XI
SCENE VIII The 'Rose' Room SCENE X
SCENE IX Convent
AUGUST STRINDBERG
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