By Margery Morgan (auth.)
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Such is the myth - compound of such prophetic legends as those of Hercules submissive to Omphale, or Samson in the hands of Delilah 26 Naturalistic Plays - which Adolf reconstructs to fill the vacuum left by the departed image of God the Father. To the Nurse, who does not understand, he quotes from the 'Magnificat', that anthem of revolution which hails the emergent power (of those who have been weak) in the elevation of the chosen woman, Mary. ' which may more logically follow from the Doctor's words: We must not judge or accuse him.
On the books' own terms, the concepts of normality and distortion are themselves called into question. The comment of G. 12 It can lead to the question of whether Strindberg's procedure in writing that book was very different from the usual activity of the novelist who imaginatively extrapolates the emotional substance of his work from his own inner life, including giving rein to doubts and fears, fancies and speculations, which he would not readily identify as the objective truth of his experience in the world.
Perhaps the text of To Damascus tells us all we need to know: 'these are all illusions, and yet not just illusions'. Looking at the matter more technically, it can be said that the use of such characters restored to drama an advantage lost when 43 August Strindberg modern naturalism had to exclude the ghosts available to Shakespeare as to lEschylus. The Grandmother, in The Father, whose stage existence is limited to a single call for attention, but who becomes an off-stage focus for ideas of the malignant will of the female sex, can be seen as a first step towards the invention of this kind of symbolic character; the unseen Count, in Miss Julie, would count as the next.