revealing his own marital miseries in the sex conflicts of these
dramas, particularly in "The Father," notwithstanding the fact that
this play was written five years before his first marriage was
dissolved, and little more than two years after his avowed
hesitancy to undertake the dissection of womankind on account of
the "happy erotic state" in which he was living.

And that his analytical labors and personal experiences, far from
bringing about an acquired aversion for woman, never even let him
be warned, is attested by the fact of his having founded three
families. One is forced to suspect that instead of being a woman-
hater, he was rather a disguised and indefatigable lover of woman,
and that his wars on woman and his fruitless endeavors to get into
harmony with the other half of the race were, fundamentally, a
warring within himself of his own many-sided, rich nature. He said
of himself that he had been sentenced by his nature to be the
faultfinder, to see the other side of things. He hated the Don
Juans among men as intensely as he did the lazy parasites among
women--the rich and spoiled ones who declaimed loudest about
woman's holy duties as wife and mother, but whose time was given
up to being hysterical and thinking out foolish acts,--these women
enraged him.

However, the psychology of woman represents but one phase of
Strindberg. In a book called "The Author," styled by him "a
self-evolutionary history," which was written during the
germinating period of the realistic dramas, but was not given out
for publication until 1909, there is a foreword which contains the
following significant avowal from the Strindberg of the last years:
"The author had not arrived in 1886; perhaps only came into being