[Two quick rings from the bell.]

JEAN. [Shrinks together; then he straightens himself up] It's
horrid! But there's no other end to it!--Go!

[JULIA goes firmly out through the door.]

(Curtain.)




THE STRONGER

INTRODUCTION

Of Strindberg's dramatic works the briefest is "The Stronger." He
called it a "scene." It is a mere incident--what is called a
"sketch" on our vaudeville stage, and what the French so aptly have
named a "quart d'heure." And one of the two figures in the cast
remains silent throughout the action, thus turning the little play
practically into a monologue. Yet it has all the dramatic intensity
which we have come to look upon as one of the main characteristics
of Strindberg's work for the stage. It is quivering with mental
conflict, and because of this conflict human destinies may be seen
to change while we are watching. Three life stories are laid bare
during the few minutes we are listening to the seemingly aimless,
yet so ominous, chatter of _Mrs. X._--and when she sallies forth at
last, triumphant in her sense of possession, we know as much about
her, her husband, and her rival, as if we had been reading a