his reason. An emotion that would move another man to murder would
precipitate Strindberg into merciless analysis of his own or
somebody else's mental and moral make-up. At any rate, I do not
proclaim his way of presenting truth as the best one of all
available. But I suspect that this decidedly strange way of
Strindberg's--resulting in such repulsively superior beings as
_Gustav_, or in such grievously inferior ones as _Adolph_--may come
nearer the temper and needs of the future than do the ways of much
more plausible writers. This does not need to imply that the
future will imitate Strindberg. But it may ascertain what he aimed
at doing, and then do it with a degree of perfection which he, the
pioneer, could never hope to attain.




CREDITORS
A TRAGICOMEDY
1889


PERSONS

TEKLA
ADOLPH, her husband, a painter
GUSTAV, her divorced husband, a high-school teacher (who is
travelling under an assumed name)


SCENE