CHAPTER VII

SELF-TORMENTOR AND VISIONARY

He restlessness of Genius is a sore trial to Mediocrity. Mediocrity in the Critic's chair, whose business it is to pass judgment upon the artist and his work, to affix a label to his back, and to place him on a particular shelf where the public can find him. The literary artist is expected to have a point of view which he has reached through certain early influences, to express himself in a certain form, and, when mature, to be measurable and easily recognisable in size and colour. If his personality and his writings make the critic's work easy he will be blessed by his contemporaries, or possibly condemned. But he will always be understood, and in the understanding there is solid comfort. You may sneer at the gods of society, you may shake your fist at law and authority, you may ridicule humanity, but you must, like Mr. George Bernard Shaw, always say the same thing. Voltaire is always expected to contemplate the world with a truly Voltairean smile of irony, Rousseau to cling innocently to Nature, Swift to see humanity only from the satirist's vantage-point.

The man of genius who, conscious of the limitations of a single point of view, seeks another, who strides across the hilltops of past thought in rapid search of a higher one, who hugs philosophies and drops them, holds faiths and deserts them, is a phenomenon before which the critic feels uneasy. He calls in the doctor, and together they prepare the last label of madness--red, like a warning against poison--and hurl it at the extraordinary man when he happens to pass at a convenient distance. Believing that there is nothing further to be said, they return to their respective vocations.

From the points of view of Mediocrity and Eugenics Strindberg presented the typical signs of degeneration, irrespectively of the traits and characteristics which are inadequately defined as the insanity of genius. He was a truth-seeker, and, consequently, a fault-finder. He knew peace and comfort like other men, and brief hours of sunshine, but spiritual discontent compelled him to be a nomad, a wanderer in many lands. Hence the critic's failure to classify him as a romanticist or realist, a socialist or individualist, a pessimist or humorist, a maniac or mystic, or to map out his life into periods and squares of thought. There was something of the eternal recurrence in him, an alchemical consciousness of all in all. He leaves beliefs, parts with influences, conquers new lands through violent crises of awakening which well-nigh wreck the body, and returns to the first camp, richer and yet the same. Through soul-sickness and hallucinations, through delirium and phrenopathic punishments he is led to the super-sanity of genius. He becomes the visionary of things hidden, the medium of spirits, the sinner on the road to Damascus, the prophet of divine justice.

Mistakes and bitter experiences prepared the way for the religious crisis of 1894. In 1887 he left Switzerland and France for Bavaria, where he wrote _The Father_ and The _People of Hemsö_. He lived in Denmark from the autumn of 1887 to the summer of 1889. The prosecution of _Married_ had inspired cautiousness in the hearts of Swedish publishers, and Strindberg had only with difficulty found a publisher for _The Father_ and _Lady Julie_. The plays were promptly attacked by Swedish critics, amongst them Professor Warburg, author of a history of literature, who thought their naturalism an unmistakable form of decadence. When Strindberg returned to his country in 1889 the hostility aroused by _Married_, and augmented by lively tales of the author's views on morality took an unexpectedly practical form. When yachting along the west coast for the purpose of collecting material for a great work on _The Scenery of Sweden_, he was actually refused permission to land in one of the fishing villages.[1] During the two years which he now spent in Sweden he became embittered by the enmity of his critics. He isolated himself on one of his beloved islands outside Stockholm, wrote and painted. In the autumn of 1892 an exhibition of his pictures was held in Stockholm. It was impressions of the sea which his brush had chosen--ice, mist, storm--and painted, not only with a tender feeling for island scenery, but disclosing considerable technical merit and accuracy of hand. The principal cause of suffering lay in Strindberg's eroticism, his interminable suspiciousness against his wife which made his divorce in 1892 a merciful end to a marriage of torment. There is much in the repulsive pages of _The Confession of a Fool_ which betrays its author's lack of mental balance; the incessant puling over the woman's wickedness, and the attendant self-appreciation are not apt to command the reader's sympathy. The same may be said of the second volume of _Married_, published in 1886. There are a carelessness of style, and a bluntness of accusation against womankind which make the book inartistic. The _ad captandum_ controversialist has overruled judgment; there is a tone of personal irritation in the stories which Strindberg tells us were written "in self-defence" against the attacks, made upon him by feminists. Like John Knox, when he wrote _The First Blast of the Trumpet against the Monstrous Regimen of Women_, Strindberg was actuated by a kind of religious fervour. Like John Knox he detested "this monstriferous empire of women," whilst his admiration for the dangerous sex repeatedly cast him in chains of bondage. Like Schopenhauer he mocked all womankind "long of hair and short of sense," and threw misogyny to the winds before the first pair of charming eyes or dainty feet.

In the autumn of 1892 we find Strindberg in Germany. The curse of marriage is no longer upon his head. He lives at Friedrichshagen, near Berlin, with his friends, the Swedish writer Ola Hansson, and his wife Laura Marholm who has written an interesting psychological study of Strindberg. Strindberg has passed through one of those "deaths," in which he found temporary Nirvana when the battle of thoughts had been too sanguinary. He has forsaken literature, thrown away the pen as a worthless tool of a tormented imagination which can scratch but not solve the riddle of the Sphinx. He has been re-born--a scientist. The exact sciences--chemistry, physics, astronomy--hold out hopes of complete replies to questions which the playwright can dress in human shape but not analyse.

Strindberg's friend, Gustaf Uddgren,[2] has described a visit to him at this time. His study was bare and uninviting. On the floor there lay stacks of scientific books piled up against the wall. They had been bought with the first money he had earned in Germany, and none had been wasted on the luxury of a bookcase. The room contained a large, old easel, not unlike a brown skeleton; a writing-table from which the usual heaps of manuscript and notes were conspicuously absent; and, for the comfort of the body, a few easy chairs and a sofa, arranged so as to give the impression of a drawing-room. Strindberg did not wish to discuss literary subjects. He was glad to have left off writing, and looked forward with eager joy to scientific research. Uddgren tried in vain to induce him to talk about Walt Whitman. Strindberg preferred to discuss Red Indians with his guest who knew something of the wild west.

After a few months at Friedrichshagen Strindberg moved to Berlin. He was in need of change and expansion. In the evenings he was now found in a little Wein Stube in Unter den Linden which is called "Zum Schwarzen Ferkel." It had already won fame as the favourite resort of Heine and E.T.A. Hoffmann. Here he was the centre of a literary and scientific coterie. Guitar in hand, amidst sympathetic friends, he became Dionysos, the singer of glad tidings, of wine-born joy. He improvised songs, and the nights were made short with wit and sparkling discussions. The Polish writer, Stanislav Przybyszewski, became much attached to Strindberg who found in him whirling depths of imaginative thought which attracted him, and made him seek his society on the principle of _similia similibus curantur_. Amongst other friends of the coterie were Holger Drachmann, Gunnar Heiberg, Adolf Paul, and Edvard Munch. "Zum Schwarzen Ferkel" is impregnated with the Strindbergian spirit. The landlord proudly shows the visitor the portraits which Strindberg gave him, and the picture by Strindberg, entitled _Die Welle_, which hangs on the wall.

The plunge into the "exact" physical sciences, from which he had expected so much, proved disappointing. The boundaries of experimental research were soon reached by his penetrative imagination. He had a passion for facts, but he could not, like the typical man of science, content himself with systematised classification of things observable. His speculative writings are studded with allusions to scientific theories, and show an extensive knowledge of the history of chemistry and botany, of the facts of astronomy, geology, and zoology. He garnered the fruits of nineteenth-century science with the pleasure of the true dilettante, and having tasted them, declared them insipid. The imaginative processes of his mind continued where those of others stop; he passed from the visible to the occult, from rigid induction to extravagant fancy. Beyond the uttermost limits of science he came to see another world, in which chemistry became alchemy, astronomy astrology, physics the servant of magic, and the form of man the tool of mighty forces. He became a student of magnetism, hypnotism, telepathy, spiritism, of the secret knowledge which has persisted throughout the ages as the pearl within the oyster.

Whilst literary Berlin was acclaiming Strindberg as the naturalistic playwright, his mind was centred on the hyperchemical speculations which later on found expression in his _Antibarbarus I or the Psychology of Sulphur or All is in All_, and in _Sylva Sylvarum_. Whilst wings of imagination were lifting him to new planes of thought, there was a sudden jerk on the chain which bound him to earth. He fell in love. The ideal woman had again appeared, now in the person of Fräulein Frida Uhl, a young Austrian girl, daughter of Hofrath Friedrich Uhl, in Vienna. They became engaged, and art-loving Berlin was one day surprised to see Strindberg escorting his fiancee to the National Gallery. He was attired in the fashionable apparel of the Berlin dandy. A check suit of a large pattern, a short yellow overcoat, a garish tie, a grotesque walking-stick, and an immaculate silk hat which, according to the account given by Gustaf Uddgren, retained its place with difficulty on the leonine mane, gave him an appearance of unwonted worldliness. They were married in April, 1893, and spent the honeymoon at Gravesend. An injunction had meanwhile been granted against the German edition of _The Confession of a Fool_, and Strindberg returned to Berlin in order to appear before the Court in the action which followed. The prosecution failed. Strindberg and his wife spent the winter at her father's country place at Armstädten, on the Danube, where he returned to his esoteric studies, and wrote his _Antibarbarus_. In August, 1894, Strindberg went to Paris. His wife had accompanied him, and left their child in Austria. The tie was now irksome to him; _les hautes études_ and not woman had again become the mistress of his soul. In November he sent his wife back to her parents.

"It was with a feeling of wild joy," he writes, "that I returned from Gare du Nord, where I had left my dear little wife who was going to our child who had fallen ill in a distant country. The sacrifice of my heart was thus made complete." Their last words, "When do we meet again?--Soon," were deceptive; an intuition truly told him that they had parted for ever. He had placed human affection on the altar of truth-seeking, thus practising the motto with which _Inferno_ opens:

Courbe la tête, fier Sicambre! Adore ce que tu as brûlé, Brûle ce que tu as adoré!

At the Café de la Régence he sat down at the table where he used to sit with his wife, "the beautiful wardress of my prison who spied on my soul day and night, guessed my secret thoughts, watched the course of my ideas, jealously observed my spirit's striving towards the unknown." He felt free, a sense of mental expansion, of liberated power, a call to reach the arcanum of human knowledge.

In Paris he was now the playwright of the day. The success of _Lady Julie_ and _Creditors_ was followed by a brilliant performance of _The Father_ at Théâtre de l'Œuvre in December. All Paris talked of his originality and of his misogyny which provided a piquant sensation, and a subject for interesting gossip in literary and dramatic circles. He was interviewed and photographed--he was the _cher maître_ of the theatrical manager who expected from him a sensible appreciation of his possibilities for further triumphs on the stage. In Berlin he was the literary lion of the moment. His plays and novels lay in the booksellers' windows in attractive German dress, his portrait was exhibited, his personality was discussed. He was saluted as a leader of a new movement. But he turned his back on all this. Another self was shed; a voice within whispered the old burning "Beyond this"--drove him across the borderland of sanity, and into the chaos of unhuman desires.

He left the café, and returned to his rooms in Quartier Latin. From their hiding-place in his trunk he took six crucibles made of fine porcelain, bought with money which he "had stolen from himself," made up a fierce fire in the stove, and pulled down the blinds for the night's experiment. His theory regarding the composition of sulphur which had met with such merciless ridicule was now to be put to the final test. A packet of pure sulphur and a pair of tongs completed the equipment of the laboratory. The sulphur burnt with infernal flames, and towards the morning he was able to demonstrate that it contained carbon. He believed that he had solved the great problem, overthrown orthodox chemistry, and gained scientific immortality. He had not noticed that the intense heat had burnt his hands, and caused the skin to fall off in flakes, but the pain of undressing in the morning made him conscious of the injury. The joy in the pursuit of the problems which haunted him was, however, greater than the pain, and the experiments were continued night after night. He had proved the existence of carbon in sulphur, now he had to show that it contained hydrogen and oxygen. The burns on his hands became filled with fragments of coke, they were bleeding, and caused him great pain, but he persisted in the work. He avoided his friends, and sought absolute loneliness. Meanwhile he wrote love-letters to his wife, relating to her the wonderful discoveries which he had made. She replied by warnings against such futile and foolish occupations, in which she saw nothing but waste of money. Irritated by her want of sympathy, Strindberg sent her a letter of farewell to wife and child, in which he led her to understand that a love affair had absorbed all his thoughts. She replied by instituting proceedings for divorce.

The charge which he had made against himself was not true, and he was soon the prey of remorse. His injured pride had led him to write a letter which he describes as shameful and unpardonable, and in the loneliness which followed he saw himself as a suicide and assassinator. On Christmas Eve the vision of his deserted wife and child by the Christmas tree caused him to flee from the company which he had sought, and visit café after café, where he failed to find comfort in the usual glass of absinthe. During the night the feeling of being persecuted by an unknown power, bent on preventing his great task, overcame him. He slept badly, and was repeatedly awakened by a cold current of air sweeping across his face. Poverty, his persistent enemy, did hot leave him in peace. He lacked the necessary means to pay for rent and regular meals. His hands were black and swollen through neglect, and symptoms of blood-poisoning in the arms set in. The news of his helplessness and misery spread amongst his countrymen in Paris. He was sought out by a persistent countrywoman who raised a sum of money amongst the Swedes in Paris, and Strindberg was brought to the Hospital of Saint Louis, his cup of humiliation filled to overflowing.

At the hospital he felt imprisoned amongst ghosts, punished by having to live in the midst of people with the faces of the dead and dying, the wrecks of humanity who offended his sense of beauty by appearing without a nose or an eye, with a split lip or a mortifying cheek. Amongst these derelicts Strindberg watched the gentle ministrations of the old sœur de charité. She was kind to him, allowed him little privileges, called him her boy, and he responded by calling her "my mother." "How blissful," he writes, "to say this word mother which had not passed my lips for thirty years. The old woman who belongs to the Order of Saint Augustine, and who wears the costume of the dead because she has never taken part in life, is gentle as self-sacrifice, and teaches us to smile at our pains, as if they were pleasures, for she knows how beneficial suffering can be. Not a reproachful word, no expostulations or sermons." "This nun has played a part in my life," he adds, and, when writing down his _Inferno_ experiences three years later, he sends her thoughts of gratitude for having shown him the path of the cross.

During the months which he spent in the hospital his chemical speculations continued to absorb his interest. He submitted his insufficiently burnt sulphur to an independent analysis which confirmed his demonstration that it contained carbon. The chemist at the hospital encouraged his researches, and Strindberg laid the results before the public in an article which appeared in _Le Temps_, and brought him requests for further articles on his theories. He left the hospital in February, and spent two months in chemical work during which he became a student at the Sorbonne, and used the analytical laboratory. At the conclusion of his experiments he was satisfied that sulphur is a ternary combination consisting of carbon, oxygen, and hydrogen.

A superstitious faith in signs and warnings had meanwhile developed. A mysterious meaning in the names of the streets and places which he passed made itself known to him--rue Beaurepaire, rue Dieu, Porte Saint-Martin--a gorgeous signboard above a dyeing business, displaying his own initials on a white silver cloud surmounted by a rainbow, became a good omen of the future. The chemist Orfila revealed himself as a kind patron saint to whom he was strangely led, first by finding his chemical treatise in a bookseller's shop, then by discovering his grave in the course of a morning walk in the Montparnasse cemetery, and finally by being attracted to Hotel Orfila--the monasterial guest-house from which women were excluded.

In his daily experiences he discerned the guidance and punishment of an unseen hand which, for a high and inscrutable purpose, was leading him out of his past folly. Sometimes the Unknown One delivered him into the hands of demons; at other times he received the grace which saved him from temptations and evil. The idea of persecution permitted for the sake of the chastisement needed by his spirit became paramount. The simultaneous playing of three pianos in the rooms adjoining his, the unexpected presentation of the hotel bill, an inexplicable noise in the room, during which the plaster of the ceiling fell on his head, roused his suspicions. He moved to Hotel Orfila which looked like a monastery. It harboured Roman Catholic students, and an atmosphere of mysticism.

Annoyances, revelations, and delusions of persecution now crowded in upon him. Strange dreams foretold the future, commonplace objects assumed fantastic shape. One day, when looking at the embryo of a sprouting walnut under the microscope, he saw two little white hands folded as if in prayer. Immovable, perfect in form, they were there, the hands of a child or a woman, raised beseechingly towards him. Shortly before the incident he had sinned grievously against his child. Seized by an uncontrollable longing to be reunited to his wife, in spite of the divorce proceedings, he had wished--with a concentrated and occultly sharpened desire--that the child might fall ill, and thus become a link of reunion. There were other mysteries. The coal in his stove burned itself into grotesque shapes, works of some kind of elemental sculptor, which were so realistic that the sparrows, feeding on crumbs by his window, were frightened by the sight of them. His pillow-case, crumpled by the after-dinner nap, showed him one day a head in marble modelled on the lines of Michel-Angelo; another day a mighty Zeus rested on his bed; one night, after a festive evening with friends, he was received by the devil himself in correct middle-age attire, thus competing with Blake who one day, whilst ascending the stairs of his house, saw Satan glaring at him through a window.

From sulphur he turned to iodine as a subject of original experimentation, and then, oblivious of Aristotle's injunctions, to the goldmaker's art. He did not possess "the most precious stone of the philosophers," by which base metals are changed into gold, and he had to be unorthodox--even when practising the alchemistic art. He therefore rejected the alchemical faith that gold alone is free from sulphur, and commenced experiments with solutions of sulphate of iron in support of the theory that gold contains iron and sulphur. He succeeded in making gold--his special gold of art--but it vanished when put to the ordinary chemical test. Signs and guidance from unseen Powers encouraged him to persist in spite of failure. Whilst out for a walk his eyes were riveted by the letters F and S intertwined. At first he thought of his wife's initials, and of her faithful love, but such a commonplace interpretation was quickly dismissed. The letters meant _Fer_ and _Soufre_--the secret of the generation of gold was thus laid bare before his eyes. Another time two pieces of paper lying at the foot of a monument attracted his attention. One bore the imprint 207, the other 28. What could this be but a reminder of the atomic weights of lead (207) and silicum (28)? Subsequent experiments in which he extracted gold from lead and silicum confirmed the wisdom of the exegesis made. But the spirit of gold is fickle. One day, after repeated failures, when standing naked to the waist as a smith before the fiercely burning furnace, he looked into the crucible, and saw a skull with a pair of glittering eyes. The eyes looked into his soul with a supernatural irony, and the goldmaker was struck by paralysing doubt, by fear of the consequences of his folly.

One day he was forcibly reminded that the fruits of his labour should be consecrated to Wisdom, not Mammon. He had written an article in _Le Temps_, and drawn public interest to his theory that iodine could be made from benzine. An enterprising agent called on him, and showed him that his idea contained possibilities for a highly successful commercial undertaking, and that a patent might be worth millions of francs. Strindberg repudiated the suggestion, though the agent offered him 100,000 francs if he would go with him to Berlin, and subordinate his experiments to industrial usages. Unpaid bills and the usual want of money caused him to give more serious thought to the offer made. After some time he was willing to meet the agent and a chemist, for the purpose of making a conclusive experiment, and to turn his art into much-needed cash. He collected his retorts and reagents, and arrived at the agent's office on the day appointed. It happened to be Whit-Sunday, and the office, which looked out on a dark and grimy street, was so dirty that the result was one of those mental revolutions to which hyper-æsthetic senses are subject. "Memories of childhood were awakened," he writes. "Whitsuntide, the feast of joy, when the little church was decorated with foliage, tulips, and lilies, when it was opened for the children's first Communion, the girls clad in white like angels ... the organ ... the tolling of the bells...."

A feeling of shame overcame him, he returned home determined not to turn science into a business. He cleared his room of the chemical apparatus, swept and dusted it, and made it beautiful with flowers. A bath and clean clothes added to the feeling of purification, and during a walk in the Montparnasse cemetery gentle thoughts of peace filled his mind. _O crux ave spes unica_--these words from the graves carried a message of the future. Not love, not gain, not honour for him, but the cross, the only path to wisdom!

This unfitness for practical life, this sudden change of personality, through which the poet or the child within are confronted with unbearable conditions, brings a smile to the lips of the man who is thoroughly "fit." The man of the world does not only keep religion and business in water-tight compartments, he keeps dreams for the night, and poetical recollections for important occasions, such as weddings and funerals. He is not troubled by unexpected visitants from his subconscious self which cause inconsistencies and poetic delirium. He may well deplore the unpracticality of men like Renan who dreamily allow themselves to be exploited by "sharper" brains, whilst they spend years in contemplation of their own complexity. "I am a tissue of contradictions," wrote Renan, "... one of my halves is constantly occupied in demolishing the other, like the fabulous animal of Ctesias who ate his paws without knowing it."[3]

Instead of selling his process of manufacturing iodine, Strindberg returned to the hyperchemical task which he had set himself: to eliminate the barriers between matter, and that which is called spirit. An object worthy indeed of concentrated effort, worthy even in the face of the inevitable failure of seeking to grasp that which to human intelligence is unknowable!

Meanwhile he went "mad." Mad as Tasso and Cellini, Poe and Blake. We cannot dispute the madness, but we may hold that the madness of genius is more valuable to humanity than the sanity of mediocrity.

In Strindberg we can clearly distinguish between cerebral derangements causing auditory hallucinations as well as delusions of persecution, and the super-conscious activity which produced the state of _clairpsychism_, which is generally classed with insanity. Dr. W. Hirsch has studied Strindberg's disease from the ordinary alienist's point of view, and concluded that he suffered from _paranoia simplex chronica_--a diagnosis which is empty of meaning when applied to such a mind. Dr. S. Rahmer[4] made Strindberg the subject of a more comprehensive psychopathic study, and defined his case as one of _melancholia daemomaniaca_. The inadequacy of such diagnoses will be apparent to every serious student of _Inferno_ and _Legends_--the books which are mostly extracts from the diary in which he recorded his madness--and of plays like _To Damascus, Advent, Easier, The Dream Play_, and _The Great Highway_, which give evidence of his lucidity, and of the mysticism which he distilled from mental torture.

There is nothing original in the fact that a man describes his own madness in prose or verse. Such descriptions may even be regarded as a distinct genre of literary activity, perverse and detestable to those who, like Mr. Balfour, want only the "cheerful" note in literature, but of infinite interest to those who place a truthful account of the human soul above one which is pleasing. Nathaniel Lee's poems, Lenan's _Traumgewalten_, Hoffmann's _Kreisler_ possess a psychological interest which no clamour for literary cradle-songs can remove. Strindberg's self-revelations have a touch of that exultation which, through a dominant curiosity, survives the most complete cheerlessness, horror, and pain--that joy of which Charles Lamb wrote to Coleridge: "Dream not, Coleridge, of having tasted all the grandeur and wildness of fancy till you have gone mad," and which made him look back upon his lunacy "with a gloomy kind of envy."

Comparisons between Rousseau's _Confessions, Dialogues_, and _Rêveries_, and Strindberg's _Inferno_ readily suggest themselves. Both writers reveal, by their minute analysis of sick thoughts, the consciousness of a lunacy which is a necessary experience on the road to spiritual health, and, therefore, shameless. There is much similarity in the stories of persistent attacks by invisible enemies, of plots, and persecutions, in the egocentric deductions from natural phenomena and the events of the world. But there is also a great difference. Rousseau manages to keep a watchful eye on the preservation of friendly relations with the world throughout his aberrations, whilst Strindberg recklessly defies its judgment.

Strindberg's persecutional mania developed rapidly during the spring and summer of 1896. Every object, every incident was charged with a sinister meaning. He became obsessed with the idea that his former friend, Przybyszewski, whom he writes of as Popoffsky, intended to murder him. The reason for this suspicion lay in Strindberg's former intimacy with the woman who afterwards became Przybyszewski's wife. One day his ear caught the strains of Schumann's _Aufschwung_, played by an unseen musician in an adjoining house. He became strangely agitated. The pianist who played _Aufschwung_ in such a manner could only be Przybyszewski, and the music must be a prelude to the revenge which he was about to inflict on Strindberg. With the horror of his impending fate mingled remorse and self-accusation. "My friend, the Russian," he writes, "my disciple who called me father because he had learnt everything from me, my _famulus_ who looked upon me as master, and kissed my hands because his life began where mine ended. It is he who has come from Vienna to Paris in order to kill me...." The reflection that he had not borne the Pole's efforts to injure him meekly, but retaliated, at first invested the thought of death with a sacrificial grandeur. But when _Aufschwung_ was played every day between four and five fear of death increased. He felt a fierce hatred of the man who thus hunted him down. He sought confirmation of his suspicions by questioning the coterie of artists which met at Mme. Charlotte's _crêmerie_ in rue de la Grande Chaumière. The answers seemed to him evasive, and Strindberg withdrew from the circle of friends, convinced that there was a widespread plot against him. The Norwegian artist, Edvard Munch, was at this time painting Strindberg's portrait, and was alternately trusted by him, and suspected as an accomplice in the crime contemplated.

His inflammable fancy saw warnings of danger everywhere. A large dane, lying outside Munch's house, was a sign that he must not enter it, and he returned, thanking the powers which had protected him. Another time he turned away from the house after seeing a child sitting outside the door with a card in its hand which happened to be a ten of spades. In the Luxembourg Gardens two dry twigs, broken by the storm, lay in such a manner as to form the Greek letters P and Y--the first and the last letters of the dreaded name. He implored, the help of Providence, and recited the Psalms of David against his enemies.

The terror of being delivered into the hands of his persecutors was temporarily dispelled by a sense of divine protection, of nearness to the Lord. On March 29th Balzac's _Seraphita_ had fallen into his hands, by chance apparently, but really, he thought, through heavenly guidance. The day was the anniversary of Swedenborg's death, and the coincidence became a token of a spiritual bond between him and the great Swedish seer which outlasted his disease, and remained a source of illumination until his death sixteen years later. Orfila and Swedenborg now spoke to him in his hours of hope; he conversed with them as Blake conversed with Dante, Virgil, and Moses. The Old Testament shed strength upon him. He found comfort in the Book of Job, for Satan had obtained leave to tempt him, as Job was tempted. There were moments when he felt drawn away from life by a heavenly nostalgia, sustained by a realisation of spiritual worth which, at other times, increased his sense of guilt by adding the sin of pride to the many others for which he atoned. Of such moments he writes: "I despise the earth, this impure and unworthy world, humanity and the works of humanity. I see in myself the righteous man to whom the Almighty has sent trials, and whom the purgatory of earthly life shall make worthy of approaching deliverance."

His customary chair at the Brasserie des Lilas was engaged one evening, when he came to seek oblivion in the glass of green absinthe. On another occasion the glass was mysteriously upset, and on a third a chimney above him caught fire, and sent two large pieces of soot into his glass. In these and similar incidents he recognised a guiding hand, tribulations arranged for the purpose of breaking him of a dangerous habit. One is reminded of Rousseau's belief that unfavourable winds had been prepared, as a special trial, for his journey.

Short intervals of spiritual calm did not allay Strindberg's fear of Przybyszewski. Though substantially unfounded, and, though he was in possession of incontrovertible evidence that the Pole was not in Paris, the fear increased until he was mastered by terror. Hotel Orfila was no longer a retreat of peace. Women were admitted--a circumstance which in itself was calculated to disturb his nerves--and with them followed a host of troubles. A mysterious stranger had taken the room adjoining his, and seemed to imitate all Strindberg's movements. Strindberg sat writing at his table, so apparently did the stranger. When Strindberg rose and pushed back his chair, the stranger did likewise. When Strindberg went to bed, the stranger also went to bed. The unseen enemy was there dose to him, watching every movement, waiting for an opportunity to slay him by infernally subtle means. Outside the hotel there were signs of danger. One day he felt Quai Voltaire and Place des Tuileries shake under his feet. Another day a sudden feeling of lameness proved to him that he was being poisoned, and that the Pole had contrived to send gas through the wall. He thought of giving information to the police, but the possibility that he might be imprisoned as a lunatic restrained him. He could no longer work or sleep. There were whispering voices around him; the shadow of a woman on the wall outside his window suggested the fearful revenge of his feminist protagonists. One night he felt an electric current passing through his body. The stranger and his accomplices were evidently doing their murderous work in a thoroughly scientific manner. With the thought, "They are killing me. I will not be killed," he rose from the bed, found the proprietor, and obtained another room for the night. This happened to be under the one tenanted by the terrible stranger, and Strindberg's suspicions were confirmed by hearing a heavy object being dropped into a bag, and securely locked up. Evidently an electric machine, he thought. On the following day he packed up his belongings, and hurriedly left Hotel Orfila.

His suspicions fell on friends and foes alike. One day, after a sitting, Munch received a post card from Strindberg which put an end to further visits:

"When last you came to see me you looked like a murderer, or the accomplice of a murderer. I only want to inform you that the Pettenkofer gas-oven in the room next to mine is unusable, and therefore unsuitable for the purpose. Sg."[5]

Side by side with the mania of which the message to Munch is typical, Strindberg retained a sanity during this time which Uddgren had occasion to observe. He went to see Strindberg at Hotel Orfila, and saw the traces of the torture through which he had passed in his haggard, ashen face. Uddgren had heard that Strindberg's insanity was on the point of breaking out, but in the course of a long talk with him he could find no signs of brain-softening. The mania, the eccentricities, the flashing imagination, the instinct for self-martyrisation were there intensified, but not the incoherency which he had observed in other literary friends who were victims of insanity. It is also remarkable that throughout Strindberg's period of lunacy his writings were accepted and printed.

After the flight from Hotel Orfila he hid himself in an hotel in rue de la Clef. All went well for some time. Feeling that he was at a safe distance from his persecutors, he abandoned his incognito, and sent his address to Hotel Orfila. There was an immediate recurrence of the attacks. An old man, with "grey and wicked eyes like a bear," carried empty cases, pieces of tin, and other mysterious objects into the room adjoining his. In the room overhead a noise of hammering and dragging began which suggested the installation of an infernal machine. The noisy preparations were followed by the sound of a revolving wheel, suggestive of preparations for his execution. "I am sentenced to death," he thought; but by whom? By the pietists, catholics, jesuits, theosophists? Was he condemned as a sorcerer or as a black magician? Or was it by the police? Was he suspected of being an anarchist? In the manners of the landlady and the servant he read suspicion and contempt. The struggle seemed hopeless. Preparing to die at the hands of his enemies, he arranged his papers, wrote necessary letters, and said a solemn farewell to Nature as represented by the Jardin des Plantes. "Farewell," he cried, "stones, plants, flowers, trees, butterflies, birds, snakes, all created by God's good hand." Resigned and at peace with Fate he re-entered his hotel, but his anguish returned at the sight of the change which had been made in the room adjoining his. On the mantelpiece lay sheets of metal isolated from each other by pieces of wood, and on the top of each pile a book or a photographic album had been placed, so as to give an innocent look to what could be nothing but accumulators, infernal machines. Two workmen on the roof of a neighbouring house were handling some objects, and pointing to his window--the chain of evidence was complete.

At night he made the last toilet of the condemned, took a bath, shaved, and attired himself in a manner worthy of a solemn parting from the body and its miseries. Waiting for the end, he reflected that he could harbour no fear of hell in another world--he had passed through a thousand hells in this life. Anguish endowed him with a burning desire to quit the vanities and deceptive pleasures of the world. "Born with a heavenly nostalgia," he writes, "as a child I cried over the uncleanliness of existence; amongst relatives and in society I felt a stranger, far away from the land of my home. Ever since my childhood I have sought my God, and found the devil. I carried the cross of Christ in my youth, and I have denied a God who is content to rule over slaves who love those who whip them."

After a few hours' sleep he was awakened by the sensation of being lifted out of bed by a pump, sucking his heart. He had scarcely put his feet on the floor before he felt an electric douche fall upon his neck, and press him to the ground. He rose, snatched his clothes, and rushed out into the garden. A light cough from the room, wherein dwelt his enemy, was answered by a cough from the other room. The conspirators were clearly signalling to each other. To return to the room of horror was out of question. He dragged an arm-chair into the garden, and finally went to sleep under the star-lit sky, soothed by the presence of the flowers. On the following morning he fled to friends in Dieppe, cursing his unknown enemies. His friends were horrified at his appearance, and when his kind hostess led him to a looking-glass he saw in his own face, not only the traces of suffering and neglect, but an expression which filled him with shame and detestation of himself. "If I had then read Swedenborg," he writes, "the imprint left by the evil spirit would have explained to me my mental state and the events of the last weeks." Despite the efforts of his sympathetic friends to convince him that the house was free from dangers of any kind, the night brought new terrors. Sitting at a table, and waiting for the sinister moment when the clock should strike two, Strindberg was determined bravely to face the worst. Uncovering his chest, he challenged the unknown persecutors to strike him. The response was the sensation of an electric current directed against his heart, gradually increasing in strength until he could resist it no longer. As if struck by a clap of thunder, he felt his body filled by a fluid which was suffocating him, and drawing out his heart.

He rushed downstairs where another bed had been made up for him in case of need. He lay down, and tried to collect his thoughts. Could this be electricity? No, for he had used the compass as indicator, and the result had been negative. Whilst pondering on the mysterious force, another discharge of "electricity" struck him with the strength of a cyclone, and lifted him out of bed. He tried in vain to escape. His own graphic description of what followed shows the agony through which he passed. "I hide behind walls, I lie down by the thresholds, and in front of the stoves. Everywhere, everywhere the furies seek me out. My soul's anguish overpowers me. The panic terror of everything and nothing gets hold of me, and I flee from room to room, and end my flight on the balcony, where I remain crouching." At dawn he went into his friend's studio, where he lay down on a rug. Even here he was disturbed, but now by rats, and, fearing that he might be a victim of delirium, he fled to the hall, where the door-mat became his resting-place. He hurriedly left Dieppe for the south of Sweden, and sought refuge in the house of his friend, Dr. Eliasson, in Ystad.

Strindberg had rightly surmised that his friends in Dieppe were convinced of his insanity. His conduct during the first days of his stay in Ystad caused his medical friend to treat him with the firmness and authority necessary towards one who is mentally irresponsible. The result was that Strindberg suspected that the doctor intended to imprison him in a lunatic asylum, and to appropriate his secret of gold-making. The month which he spent at the doctor's house was devoted to a cold-water cure which did not assuage his misery. The shape and material of the bed in which he had to sleep suggested electrical devices of evil, the nightly assault by the vampire which sucked his heart was repeated, and brought him out of bed in terror of death; he heard voices, saw signs, feared he was being poisoned by hemlock, hashish, digitalis, or daturine. One night he heard the doctor handle a very heavy object and wind up a spring, and through the wall which separated them he felt the approach of the electric current. It reached his heart. Seizing his clothes he fled through the window into the street, and to the house of another physician who succeeded in calming him, and--so he believed--in intimidating his treacherous friend, and thus saved Strindberg's life.

These delusions of horror were suspended by a letter from his wife which breathed love and pity, and in which she invited him to come to Austria and see his little daughter. The thought of the child, of holding her in his arms, of begging her to forgive him, of making her happy by a father's tenderness, brought about a spiritual metamorphosis. He left Sweden, and arrived at his mother-in-law's country house on the Danube in September, 1896. During the months which he spent there he did not meet his wife-a separation which he bore with equanimity, in consequence of "an indefinable lack of harmony in our temperaments"--but he saw the child daily.

"Every man, if he is sincere, may tread again for himself the road to Damascus-a journey which must vary for each individual soul," wrote Victor Hugo. Here, in the presence of the child, Strindberg was brought face to face with his own sinfulness. He had set out to persecute, but the light from heaven had prostrated him and struck him with blindness. Before the scales could fall from his eyes his penance must be made complete. He had left an infant of six weeks. The little girl of two and a half years, who now met him, scrutinised his soul with eyes full of serious inquiry, and then allowed her father to clasp her to his breast. "This is Dr. Faust's resurrection to earthly life, but sweeter and purer," he writes. "I cannot cease carrying the little one in my arms, and feeling her little heart beat against mine. To love a child is for a man to become woman; it is to lay aside the manly, to experience the sexless love of the dwellers in heaven, as Swedenborg called it." But an incident soon occurred which disturbed his peace. At supper he gently touched the child's hand in order to help her. She cried out, and, drawing back her hand with a look full of horror, said, "He hurts me." Another evening he was humiliated by the mysterious conduct of the child. Pointing at an invisible person behind Strindberg's chair, she began to cry with fear, and said, "The sweep is standing there." Her grandmother who believed in clairvoyance in children made the sign of the cross over the child's head, and-a painful silence fell upon the company.

Whilst he accepted these trials as punitive messages and warnings, his scarified soul became receptive to Roman Catholic influences. His wife's mother and aunt were Catholics; his child had been brought up in that faith. He had seen human souls sanctified by a catholic mysticism which bore humility and fortitude. The symbols, the certainty, the rich imagery of the Catholic Church had appealed to him, when the poverty of philosophical speculation had made him despair of human intelligence. He had bought a rosary in Paris because it was beautiful, and because "the evil ones were afraid of the cross." One day an image of the Madonna, carried through the streets of Paris on a cart following a hearse, had strangely attracted him. Like Tasso's vision of the Virgin in the midst of his feverish torment by noises and tinkling bells, Strindberg's gaze on the image of all-merciful motherhood brought comfort. At first attracted to Catholic prayers, and to the ideal of the monastic life by the instinct which makes the man in pain seek an anodyne, he was gradually led to a deeper understanding of esoteric Christianity. Swedenborg continued to reveal the mysteries of symbols and correspondences to him; in the scenery around the Austrian village he found, not only an exact replica of a Swedenborgian hell, but the original of a landscape which had precipitated itself in the zinc bath used in his gold-making experiments in Paris.

Strindberg's early blasphemies and atheism were the fruits of an inverted religiosity which left him no peace. His devotional mood could find no bridge of union with his scientific mood. The search for knowledge and the search for God led to different goals. Whilst his brain struggled for breadth, his heart cried for the narrow depth of dogma and creed. His researches into occultism and the philosophy of religions, his acquaintance with theosophy did not reconcile his religion with his science. The sense of sin, of having sought unlawful knowledge haunted him in his studies of black magic and Satanism, and in the exercise of the occult powers of which he was conscious. Though Strindberg had not read Huysmans' _Là-Bas_ and _En Route_ when he wrote _Inferno_, there is a strong resemblance between the books and the religious evolution of the authors.

Strindberg accepted the doctrine of reincarnation as a Christian tenet, and the corollary of a Karmic law which compels us to suffer for sins committed before birth, but he resisted what he believed to be the central teaching of theosophy, i.e. the necessity for killing personality. A theosophical friend sent him Madame Blavatsky's _Secret Doctrine_ which Strindberg criticised severely, though he knew that his outspokenness would deprive him of a friend and a benefactor. He declined to join a "sect" which denied a personal God, the only one who could satisfy his religious needs. He declared Madame Blavatsky's masterpiece to be "detestable through the conscious and unconscious deceptions, through the stories of the existence of Mahatmas," interesting through the quotations from little-known authors, condemnable, above all, as the work of "a gynander who has desired to outdo man, and who pretends to have overthrown science, religion, philosophy, and to have placed a priestess of Isis on the altar of the crucified One."

In spite of this denunciation, Strindberg had absorbed many theosophical ideas, and his later writings are not altogether free from the influence of the despised "gynander" and the theories of occult science which she expounded.

During the time spent in Austria Strindberg slowly recovered his mental balance, whilst his visionary powers and spiritual clairvoyance were in process of development. He stayed with his wife's mother and aunt, two pious and gentle old women, who treated his soul-sickness with Christian forbearance and healing sympathy. He was still subject to "astral" attacks, to "electric" discharges, to nightmares and ghostly visitations. Unacquainted with the higher aspects of psychical research and modern theories of psychological phenomena, he was as yet unable to bring about order in the unruly house of his mind. Whether we use spiritualistic language and call him a medium, or that of psychology and label the messages which reached him "teleological automatism," there can be no doubt that the keynote of his soul's gloom and glory was a hyper-sensitiveness which made him a lightning-conductor for the psychic currents of his time. We may turn away with disdain from the pitiful picture of Strindberg at his writing table, warding off the imaginary attacks of elementals, incubi, lamiæ, by thrusts in the air with a dalmatian dagger, and we may smile at the childish superstition with which he accepted the oracular guidance of the cock on the top of Notre Dame, or the direction chosen by a ladybird visiting his manuscript. But that there were within him cryptopsychic gifts of telepathy, clair-audience, and divination, a somnambulistic consciousness of a reality other than that which is cognisable to the senses, no student of psychic forces can doubt.

In December, 1896, Strindberg returned to Sweden. Swedenborg's _Arcana Cœlestia_, which he now read, dissipated his fears of persecution by showing him that all the horrors through which he had passed, were recognised by Swedenborg as incidental to the purgation of soul which is the highest object of life. Strindberg found that, before receiving his momentous revelations, Swedenborg had passed through nightly tortures resembling his own. By informing him of the real nature of the horrors Swedenborg liberated him from the electricians, the black magicians, the destroyers, the jealous gold-makers, and the fear of madness. "He has shown me the only path to salvation: to seek out the demons in their dens within myself, and to kill them ... through repentance."

_Inferno_ was composed in Lund, the little University town in the south of Sweden, between May 3rd and June 25th, 1897. _Legends_, which is but a rifacimento of the struggle to slay the "demons in their dens," was begun in Lund, and finished in Paris in October, 1897. In March, 1898, Strindberg went back to Lund, free from haunting obsessions of evil, master of his madness, enriched by religious experiences which produced an exuberant rise of new ideas. He had crossed the Rubicon. Henceforth he shared in that direct vision which makes paralysing doubt impossible, and which is the prerogative of God's fools all over the world. To the end of life his mind retained intellectual disquiet; there remained in him a strain of the wild man, an over-balance of curiosity which set up eternal enmity between him and convention. The Swedish critic, Oscar Levertin, succinctly summed up Strindberg in the Italian proverb: _All soul, all gall, all fire_. But after 1898 there is a calm light which the unruly flames cannot hide. His spiritual wrestlings continue through the zenith of his literary production, but they leave him stronger.

A comparison between his views on the "nature of man" in 1884 and in 1910 is interesting. In an essay on _The Joy of Life_, written in 1884, he greatly offended the Swedish Mrs. Grundy by the following passage: "After long centuries of the voluntary or involuntary lie, of artificialising custom and speech, a general craving for brutality is sometimes awakened, a delirious desire to throw off one's clothes and walk about naked, to reveal the indecent, to approach the repulsive, to be a happy and joyous animal." In an article on _Religion_, written in 1910, and published in _Speeches to the Swedish Nation_, he wrote: "I apply my biblical Christianity to my own personal and inner use, so as to curb my somewhat riotous nature, rendered riotous by the veterinary philosophy and animal doctrine (Darwinism) in which I was brought up. The fact that I practise, as far as I can, the Christian doctrines should not, I maintain, give people reason to complain. For it is only through religion, or the hope for something better, and the realisation of the inner meaning of life as a time of probation, a school, possibly a house of correction, that we can bear life's burden with sufficient resignation. In the understanding of the relative insignificance of external conditions of life, compared with the possession of hope and faith, one finds that moral courage to renounce everything--which the ungodly lack--to suffer everything for the sake of a mission, to speak out when others remain silent."

In the same "speech" he says: "Since 1896 I call myself a Christian (see _Inferno_). I am not a Catholic, and have never been one, but during seven years' life in Catholic countries and in intimate relationship with Catholics I discovered that there was no difference between Catholicism and Protestantism, or merely an outward one, and that the schism which took place once was purely political, or was only concerned with theological points which in reality have nothing to do with religion. This was the cause of my tolerance towards Catholics which found a special expression in my _Gustavus Adolphus_, and gave rise to the fable about my being a Catholic. I am entered on the parish register as a Protestant, and shall remain one, but I am probably not orthodox, nor am I a pietist, but rather a Swedenborgian."

At the time when _Inferno_ was written Strindberg was, however, more completely under the spell of Rome than he acknowledges in his later writings. He contemplated retreat in a Belgian monastery, and in _Inferno_ he tells us that, when he read Sar Peladan's _Comment on devient Mage_, "Catholicism held its solemn and triumphant entry into my life." He found many points of contact between Swedenborg's mystical philosophy and that of the Catholic Church. The profound influence on modern thought exercised by Swedenborg, and which is clearly discernible in the writings of Goethe, Emerson, Balzac, Tennyson, Mrs. Browning, Ruskin, Coventry Patmore, and Carlyle, is evidence of the spiritual catholicity of the great Swedish mystic. Superficial criticism is apt to dismiss Swedenborg as a deluded ghost-seer, whose psychical derangements are responsible for a farrago of communications on heaven and hell, prodigiously wearisome in details and lacking the saving grace of humour. Such criticism is made by those who know nothing of the intellectual versatility, and the scientific achievements of Swedenborg. His writings on anatomy, physiology, geology, and metallurgy alone would have entitled him to a distinguished place among the pioneers of science. Swedenborg studied mechanics, engineering, mathematics, astronomy, philosophy, and music, and took a keen interest in handicrafts.

There is a striking resemblance between Swedenborg and Strindberg in this versatility of mood and thought. It is emphasised by many minor traits of character and taste, such as the great love for children and flowers which both evinced. Separated by more than a century and a half, Strindberg found himself the spiritual descendant of Swedenborg. To him he dedicates his first _Blue Book_ (1907) in the following words: "To Emanuel Swedenborg, Teacher and Leader, this book is dedicated by the Disciple." The _Blue Books_ deal with every thinkable subject--religious, philosophical, scientific--in an aphoristic and combative manner which is pervaded by a curious mixture of pride and humility. Here speaks the High Priest of Knowledge, here quivers the helpless embryo of the humanity which is to come. In these motley pages the Teacher and the Disciple talk of telepathy, chemistry, astronomy, meteorology, spectral analysis, atoms and crystals, the psychology of plants, the secrets of birds, the formation of clouds, Darwinism, radium, woman, the secrets of chess, the secrets and magic of numbers, the Mesopotamian language, hieroglyphics, Hebraic research, symbolism, clairvoyance, and a hundred other subjects. In the preface to _The Bondswoman's Son_ Strindberg speaks of his Blue Book as the synthesis of his life. The Disciple is worthy of the Master; to the Swedenborgian and eighteenth-century conception of the natural world and the spiritual world Strindberg has added the craving for a synthetic interpretation of facts, which was characteristic of the nineteenth century, and which found its foremost representatives in Spencer and Comte. In his sense of truth, in his work for the correlation of knowledge, in his readiness to forsake pleasant beliefs for unpleasant facts, Strindberg realised Swedenborg's description of a certain phase of angelic life: "To grow old in heaven is to grow young."

The renewal of intellectual youth, with its baffling polymathy and selfcontradictions, led Strindberg to question the composition of his own soul. In the preface to _The Bondswoman's Son_ he confesses that he has sometimes wondered if he has incarnated different personalities. Dissociated fields of consciousness may be a psychopathic phenomenon, or indicative of an advanced state of psychic evolution. The problem has been approached from many points of view. The mystery of personality metamorphosis, of primary and secondary individualities, contained within the frame of one human body, is now a recognised subject of inquiry in the domain of abnormal psychology. Cases of multiple personality in which there is an absolute division between the "entities," and in which the memories do not intermingle, have been carefully studied and classified. The ease with which Strindberg apostatised, the mutually destructive theories which he advanced at different periods of life, the power with which he could objectify his past selves, and repeatedly paint "the face of what was once myself," point to a multiplicity of consciousness which, though not rare in genius, was especially active in him. In the preface to _The Author_, written in 1909, Strindberg says of himself as the writer of the book twenty years earlier: "The personality of the author is just as much a stranger to me as to the reader--and just as unsympathetic."

There is undoubtedly a gulf between the personality responsible for the preface to _Lady Julie_ with its crude materialism, and the sensitised consciousness of the man who pours out his soul in the _Blue Books_ and in _Alone_. Nietzscheanism was but a cloak, with which Strindberg covered the _cor laceratum_, which always suffered acutely through the misfortunes of others. The cloak did not fit him. In _Alone_, the dulcet autobiographical finale to the agitato of _Inferno_, we find him in self-imposed and vicarious suffering for the sins of a neighbouring grocer who has failed in business through incompetence and dishonesty. "I went through all his agony," he writes; "thought of his wife, of the approaching quarter-day, of the rent, of the cheques." Strindberg now lived in open enmity with the theories of the survival of the fittest and natural selection; his conception of the evolution idea led him to repudiate the current belief in the descent of man as a glorification of brute-nature, and to cry: "What a shame to have paid homage to the Ape-King, the seducer of my youth!"

To the natural capacity for suffering was added that imposed on him through the development of his psychic powers. He did not only live the lives of others "telepathically"; his sensibility became so exteriorised as to receive impressions at a great distance. Thus he used to feel, when one of his plays was being performed for the first time in some part of Europe, though he had received no information in regard to the performance. In 1907 he told Uddgren that, after going to bed at ten in the evening, he was sometimes awakened by the sound of loud applause which caused him to sit up in bed, wondering if he was at a theatre. Such a telepathic ovation was invariably followed by the news of some dramatic success. In the first _Blue Book_, "the Disciple" relates the following: "In a company I interrupted myself with a smile in the middle of an animated conversation. 'What are you smiling at?' somebody asked. 'The southern express pulled up at the Central Station just now,' was the reply. Another time something similar happened, and I said: 'The curtain has now fallen on the last act in Helsingfors, and I heard the applause after my first night.' I perceive the talk of the people in restaurants after the performance as ringing in the ears. I can hear this all the way from Germany when I have a first performance, though I have no previous knowledge of being played."

He records the psychic rapport which sexual union establishes between him, and the woman he loves. When she is absent, and thinks kindly of him, he perceives the fragrance of incense or jessamine; when she is travelling he knows if she is on a steamer or in a train. He can distinguish the throbbing of the propeller from the thumping of the buffers on the railway carriage.

The most remarkable passage in the _Blue Book_ is perhaps the following summary of his _clairpsychism_:

"I feel at a distance when somebody touches my fate, when enemies threaten my personal existence, but also when people speak kindly of me or wish me well; I feel in the street if I meet friend or enemy; I have participated in the suffering caused by an operation on a person towards whom I feel comparatively indifferent; I have twice gone through the death agony of others with attendant physical and mental suffering; the last time I passed through three diseases in six hours, and rose well when the absent one had been liberated through death. This makes life painful, but rich and interesting."

[1] _Bøken on Strindberg_ af Gustaf Uddgren.

[2] _En Ny Bok on Strindberg_.

[3] _Souvenirs d'Enfance et de Jeunesse_.

[4] Grenzfragen der Literatur und Medizin, Munich, 1907.

[5] _En Ny Bok om Strindberg af Gustaf Uddgren_.