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Download (17MB) https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Symbolism in the works of August Strindberg Edward S. Franchuk Submitted for the degree of Doctor of Philosophy Department of Drama Faculty of Arts University of Glasgow March, 1989 © Edward S. Franchuk 1989 Volume I ProQuest Number: 10983480 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10983480 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Acknowledgments The preparation of this dissertation has spanned a period of sixteen and one-half years; inevitably the number of people who have assisted its author over the course of this period is large. He particularly wishes to acknowledge the assistance and encouragement of his two original supervisors, Professor James Arnott of the Department of Drama and Miss Oddveig R/6segg of the Department of Norwegian, and that of Mr. Claude Schumacher of the Department of Drama, who has shep­ herded him through the final stages. Special acknowledgments are due to Mr. P.A. Hoare of Glasgow University Library, who made me aware of uncatalogued Swedish collections in the library and arranged for me to have immediate access to their con­ tents, to the Librarian at Nordiska museet in Stock­ holm, who arranged for me to have access to Strind­ berg's personal library (then housed in the museum) during the summer of 1974, and to Ms. Rita Butterfield, Head of Circulation, who arranged for me to use materi­ als in the University of British Columbia Library in the spring of 1978. Invaluable assistance was provided by the Swedish Institute in the summer of 1974, when they arranged for me to live at the Strindberg Museum in Bla tornet, with access to its library, and during the period September 1982 to June 1984, when I held a Swedish Institute Guest Scholarship, enabling me to increase my famil­ iarity with the Swedish language and culture, and to work with Professor Inge Jonsson and Carl Reinhold Smedmark at Stockholm University. Mention should also be made of the three academic institutions which pro­ vided me with employment (and library services) during the period 1975-87: College militaire royal de Saint- Jean, Concordia University (Montreal), and Universidade dos Agores (The University of the Azores). Assistance on various difficulties in translation has been provided by Mr. Roger Nyborg (Stockholm), Mrs. Lillemor Macleod (Glasgow), and Mr. Jim Hannah (Gote- borg) for Swedish, and by Mr. Steve Billo (Toronto) for German. Mr. Billo also assisted me on historical and theological questions, and I received assistance with the identification and English nomenclature of birds, plants, and flowers from Dr. and Mrs. J.L. Thompson of St-Jean-sur-Richelieu and from Mr. Ian Wallace, librar­ ian of the Canadian Department of Agriculture Research Station in the same city. Dr. Thompson, who is Head of the Department of Chemistry at College militaire royal de Saint-Jean, also helped me understand Strindberg's chemical and alchemical writings and other scientific references. R.S.V.P., the classical music request programme on CBC Stereo, and its host, Mr. Leon Cole, made it possible for me to hear many of the musical works mentioned by Strindberg. Acknowledgments iii Several friends in Britain, Sweden, and Canada have drawn my attention to magazine and newspaper arti­ cles about Strindberg, and productions of his plays on the stage, television, and radio. Strindbergssallskapet (The Strindberg Society) has kept me abreast of new publications and scholarship, and my Swedish bookshop, Bokhandeln Tidsspegeln in Sundsvall, has been invalu­ able with their efficient service in the obtaining and shipment of requested materials. Finally, I acknowledge the continued faith, encouragement, and support of my family and of numerous friends scattered throughout Europe and North America: they have sustained me through what seemed at times a never-ending quest. iv Table of Contents 1. Fritankaren ........... 1 2. Hermione ................................... 8 3. "I Rom" ..................................... 15 4. "Den fredlose" ........ 19 5. Master 01 of ................................. 43 6. Anno fyrtioatta ............................. 62 7 . Han och H o n ........... 64 8. I varbrytningen ............................ 92 9. Roda rummet ............... 115 10. Gamla S tockholm........................... 122 11. Gil lets hemlighet ......................... 128 12. Lycko-Pers resa ........ 156 13. Svenska folket ............................ 161 14. Herr Bengts hustru ........................ 180 15. Det nya riket .............................. 215 16. Svenska oden och a v e n t y r .................. 222 17. Dikter pi vers och prosa ..... 372 18. Sdmngangarnatter .............. 405 19. Likt och olikt ............. 418 20. Resor ..................................... 461 21. Giftas .............................. 463 22. Utopier i verkligheten ........ 470 23. I Bernadottes land ........................ 495 24. Fabler .................... 500 25. Bland franska bonder ..................... 505 V 26. Vivisektione r ........................... .. 513 27. Kamraterna ................................ 545 28. Fadren ..................................... 552 29. Hemsoborna ................................ 557 30. Le plaldoyer d'un fou ................... 563 31. Froken Julie .......................... 577 32. Fordringsagare............................ 584 33. Blomstermalningar och djurstycken ........ 590 34. "Den starkare" ............................ 596 35. "Paria" .................................... 601 36. "Samum" .................................... 614 37. I havsbandet ......................... 618 38. Himmelrikets nycklar ..................... 650 39. "Forsta varningen" ........................ 665 40. "Debet och kredit" ........................ 670 41. "Infor doden" ...................... 675 42. "Moderkarlek" ......... 681 43. "Leka med elden"........ 687 44. "Bandet" ............... 693 45. ffortus Merlini ......... 698 46. Uppsatser .................................. 716 47. Inferno .................................... 729 48. Till Damaskus I ........................... 759 49. Till Damaskus II........................... 773 50. "Silvertrasket" ........................... 776 51. Advent ..................... 789 52. Brott och b r o t t ........ 837 53. Folkungasagan ............................. 846 vi 54. Gustav Vasa ............................... 888 55. Erik X I V ..... ............................. 904 56. Midsommar ................................. 914 57. "Kaspers fettisdag" ...................... 942 58. Pask ...................... 944 59. Dodsdansen I .............................. 969 60. Dodsdansen II ............................. 980 61. Kronbruden ............................... 989 62. Svanevit .................................. 1022 63. Carl XII ........ 1035 64. Till Damaskus III ........................ 1052 65. Engelbrekt ............................... 1062 66. Kristina .................................. 1088 67. Ett dromspel ............................. 1108 68. Fagervik och Skamsund ................... 1129 69. Klostret .................................. 1146 70. Gustav III ................................ 1160 71. Naktergalen i Wittenberg ................ 1182 72. World Historical Plays ......... 1207 73. Gotiska rummen ........................... 1223 74. Svarta fanor ............................. 1236 75. Ordalek och smakonst .................... 1257 76. Historiska miniatyrer ................... 1299 77. Hovdingaminnen (Nya svenska oden) ..... 1341 78. Taklagsol ................................. 1423 79. Syndabocken ............................... 1452 80. Letters ................................... 1473 81. En bla bok ..................... 1499 vii 82. Ovade r .................................... 1559 83. Branda tomten .............. 1578 84. Spoksonaten ............................ 1595 85. Pelikanen ................................ 1618 86. Siste riddaren ........................... 1634 87. Abu Caserns toff lo r ...................... 1659 88. Riksforestandaren ...... 1662 89. Bjalbo-jarlen ............................ 1683 90. Ockulta dagboken .................... .... 1713 91. Svarta handsken .......................... 1723 92. Oppna
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