August Strindberg, born on January 22, 1849, in Stockholm, Sweden, is one of the most significant figures in world literature. A prolific playwright, novelist, poet, and essayist, Strindberg’s work spans various genres, reflecting his complex personality and the tumultuous times in which he lived. He passed away on May 14, 1912, in his birthplace, Stockholm, leaving behind a legacy that continues to influence literature and theater worldwide.
Early Life and Background
August Strindberg was born into a family that was far from conventional. His father, Carl Oskar Strindberg, was of middle-class origins, while his mother, Eleonora Ulkira Norling, worked as a maid before their marriage. This disparity in social class between his parents would later resonate in Strindberg’s work, as themes of social conflict and class struggle became central to his writing.
Strindberg’s childhood was marked by instability and conflict, both within his family and in the society around him. His mother passed away when he was only 13, and his father’s subsequent remarriage added to the young Strindberg’s sense of alienation and resentment. These early experiences of loss and disillusionment profoundly shaped his worldview and would later inform his portrayal of human relationships and societal structures.
Educational Pursuits and Early Career
Strindberg’s academic journey was as erratic as his personal life. After completing his primary education, he pursued studies in philology and medicine, but his interests were too broad and varied to be confined to a single discipline. To support himself, Strindberg took up teaching at a public school (Folkskola), an experience that exposed him to the harsh realities of life for the working class, a theme that would permeate his later works.
In 1870, after an unsuccessful attempt at a career in acting, Strindberg enrolled at the University of Uppsala. However, his academic pursuits were cut short due to financial difficulties, forcing him to abandon his studies after just two years. Despite this setback, Strindberg continued to educate himself through extensive reading and self-study, laying the groundwork for his future literary career.
Strindberg as a Journalist and Librarian
In 1874, Strindberg found employment as a journalist with the Swedish newspaper Dagens Nyheter. This position allowed him to hone his writing skills and provided him with a platform to express his views on various social issues. Concurrently, he worked as a royal librarian at the Kungliga Biblioteket (Royal Library) in Stockholm, a prestigious position that he held until 1882.
During this period, Strindberg began to develop his distinctive voice as a writer. His journalistic work often focused on social criticism, and he was not afraid to challenge the status quo. This willingness to speak out against societal norms would become a defining characteristic of his literary career.
Marriage, Literary Debut, and Early Works
In 1877, Strindberg married Siri von Essen, a Finnish-Swedish actress. The couple had three children together: Karin, Greta, and Hans. It was during the early years of his marriage that Strindberg made his literary debut with the novel The Red Room (Röda Rummet), published in 1879. The novel was a satirical critique of Stockholm society and established Strindberg as a prominent figure in Swedish literature.
Strindberg considered his play Master Olof (Mäster Olof), written in 1871 but not performed until 1881, to be his finest work. The play, which dealt with the religious and political turmoil of 16th-century Sweden, was initially rejected by several theaters before finally being staged. Despite its initial challenges, Master Olof is now regarded as a masterpiece of Swedish drama.
Following the success of The Red Room, Strindberg continued to explore social themes in his writing. His works from this period, including the historical chronicle The Swedish People (Svenska Folket) and the novel The New Kingdom (Den nya riket), were characterized by a realist style and a critical perspective on social institutions. These works were not without controversy, and Strindberg often faced harsh criticism for his unflinching portrayals of Swedish society.
The Paris Years and the Community of Artists at Grez
In the early 1880s, facing mounting criticism and legal challenges in Sweden, Strindberg and his family relocated to Paris. There, they joined the Scandinavian community of artists in Grez-sur-Loing, a village that had become a hub for Scandinavian painters and writers. This period in Paris was highly productive for Strindberg, as he continued to write prolifically.
Among the works Strindberg produced during this time were the autobiographical novel The Son of a Servant (Tjänstekvinnans son) and the play The Father (Fadren), both of which drew heavily on his personal experiences. The Father is particularly notable for its exploration of the power struggle between the sexes, a theme that would recur throughout Strindberg’s work.
It was also during this period that Strindberg wrote Miss Julie (Fröken Julie), one of his most famous plays. Miss Julie is a naturalistic drama that delves into issues of class, gender, and power. The play’s stark portrayal of the destructive effects of these social forces was groundbreaking at the time and remains powerful today.
Accusations of Blasphemy and Misogyny
Strindberg’s time in Paris was not without its challenges. His work, particularly the collection of short stories titled Getting Married (Giftas), attracted accusations of blasphemy. The stories, which dealt with the institution of marriage, were seen as highly controversial and led to a legal trial known as the Giftas Trial. Although Strindberg was acquitted, the trial and the surrounding publicity took a toll on his reputation.
Strindberg’s works from this period also led to accusations of misogyny, a charge that has dogged his legacy ever since. His depictions of women, particularly in plays like The Father and Miss Julie, have been interpreted by some as reflective of a deep-seated animosity towards women. However, others argue that Strindberg’s portrayals of gender relations were more complex, reflecting the contradictions and tensions of his time.
Marital Struggles and Personal Turmoil
Strindberg’s personal life was as tumultuous as his literary career. His marriage to Siri von Essen deteriorated during their time in Paris, and the couple eventually separated in 1889. The breakdown of their marriage had a profound impact on Strindberg, and the themes of marital conflict and the battle of the sexes became even more pronounced in his later works.
After his separation from Siri, Strindberg married twice more. His second marriage, to Austrian journalist Frida Uhl in 1893, and his third marriage, to Norwegian actress Harriet Bosse in 1901, were both short-lived and fraught with difficulties. Strindberg’s relationships with women were complex and often contentious, mirroring the troubled relationships he depicted in his plays.
Return to Stockholm and Later Years
In 1907, after years of living abroad, Strindberg returned to Stockholm, where he founded the Intimate Theatre (Intima Teatern) with actor August Falk. Modeled after Max Reinhardt’s Kammerspiele in Berlin, the Intimate Theatre focused on staging Strindberg’s Chamber Plays, a series of short, intense dramas that explored themes of existential despair and psychological conflict.
Strindberg’s later years were marked by increasing isolation and a deepening interest in mysticism and the occult. His writings from this period, including the autobiographical work Inferno and the play The Ghost Sonata (Spöksonaten), reflect his fascination with spiritual and supernatural themes. These works are often seen as precursors to the expressionist and surrealist movements that would emerge in the early 20th century.
Despite his declining health, Strindberg remained a prolific writer until his death in 1912. His final works, such as The Great Highway (Stora landsvägen), continue to explore the themes of alienation, spiritual searching, and the human condition that had defined his career.
Historical Context and Literary Significance
August Strindberg’s work must be understood within the broader context of 19th-century European literature and society. The late 19th century was a period of great social and political upheaval, marked by the rise of industrialization, the spread of democratic ideals, and the questioning of traditional social structures. Strindberg’s writing reflects these changes, as he sought to capture the anxieties and conflicts of his time.
Strindberg is often compared to his contemporary, Norwegian playwright Henrik Ibsen. While both writers are credited with pioneering modern drama, their approaches were quite different. Ibsen’s plays are often characterized by their focus on social issues and moral dilemmas, while Strindberg’s work is more introspective, exploring the psychological and emotional dimensions of his characters. Strindberg’s influence on modern theater is profound, and his works have been a significant influence on playwrights such as Eugene O’Neill, Samuel Beckett, and Harold Pinter.
Legacy and Posthumous Recognition
August Strindberg’s legacy extends far beyond his own time. His work has been translated into numerous languages and continues to be performed on stages around the world. Strindberg’s exploration of psychological depth, his use of naturalistic and expressionistic techniques, and his willingness to tackle controversial social issues have ensured his place as one of the great innovators of modern drama.
In Sweden, Strindberg is celebrated as a national literary hero, with numerous institutions, including the Strindberg Museum in Stockholm, dedicated to preserving his legacy. His influence is also evident in the broader world of literature and theater, where his works continue to inspire new generations of writers and performers.
Strindberg’s life and work reflect the complexities of the human experience, offering insights into the struggles, contradictions, and triumphs that define us all. As a writer, Strindberg was unafraid to confront the darker aspects of life, and his willingness to explore the depths of the human soul has made his work timeless.
Conclusion
August Strindberg was a towering figure in the world of literature, a writer whose work transcended the boundaries of genre and form. His exploration of the human psyche, his critique of social institutions, and his innovative use of dramatic techniques have left an indelible mark on the history of literature and theater. As we continue to study and perform his works, Strindberg’s insights into the human condition remain as relevant today as they were in his own time.
