Excerpt: ... child, whose mission was to ennoble our warped relationship, has been defiled by you in his mother's womb and made an apple of discord and a source of punishment a revenge. Why should I stay here to be torn to pieces? MOTHER. For you, duties don't exist. STRANGER. Oh yes, they do! And the first of them's this: To protect myself from ...
Excerpt: ... child, whose mission was to ennoble our warped relationship, has been defiled by you in his mother's womb and made an apple of discord and a source of punishment a revenge. Why should I stay here to be torn to pieces? MOTHER. For you, duties don't exist. STRANGER. Oh yes, they do! And the first of them's this: To protect myself from total destruction. Farewell! Curtain. ACT III SCENE I THE BANQUETING HALL Room in a hotel prepared for a banquet. There are long tables laden with flowers and candelabra. Dishes with peacocks, pheasants in full plumage, boars' heads, entire lobsters, oysters, salmon, bundles of asparagus, melons and grapes. There is a musicians' gallery with eight players in the right-hand corner at the back. At the high table: the STRANGER in a frock coat; next to him a Civil Uniform with orders; a professorial Frock Coat with an order; and other black Frock Coats with orders of a more or less striking kind. At the second table a few Frock Coats between black Morning Coats. At the third table clean every-day costumes. At the fourth table dirty and ragged figures of strange appearance. The tables are so arranged that the first is furthest to the left and the fourth furthest to the right, so that the people sitting at the fourth table cannot be seen by the STRANGER. At the fourth table CAESAR and the DOCTOR are seated, in shabby clothes. They are the farthest down stage. Dessert has just been handed round and the guests have golden goblets in front of them. The band is playing a passage in the middle of Mendelssohn's Dead March pianissimo. The guests are talking to one another quietly. DOCTOR (to CAESAR). The company seems rather depressed and the dessert came too soon! CAESAR. By the way, the whole thing look's like a swindle! He hasn't made any gold, that's merely a lie, like everything else. DOCTOR. I don't know, but that's what's being said. But in our enlightened age anything whatever may be expected. CAESAR. There's a professor at...
New York. 1960. Grove Press. 1st Grove Press Paperback Edition. Previous Owner's Name Penned In Front, Otherwise Very Good In Wrappers. Translated from the Swedish by Graham Rawson. Introduction by Gunnar Ollen. 286 pages. paperback. Cover design by Roy Kuhlman. keywords: Literature Drama Sweden Translated. inventory # 38359. FROM THE PUBLISHER-From the Introduction-Strindberg's great trilogy THE ROAD TO DAMASCUS presents many mysteries to the uninitiated. Its peculiar changes of mood, its gallery of half unreal characters, its bizarre episodes combine to make it a bewilderingly rich but rather ‘difficult' work. It cannot be recommended to the lover of light drama or the seeker of momentary distraction. THE ROAD TO DAMASCUS does not deal with the superficial strata of human life, but probes into those depths where the problems of God, and death, and eternity become terrifying realities. Many authors have, of course, dealt with the profoundest problems of humanity without, on that account, having been able to evoke our interest. There may have been too much philosophy and too little art in the presentation of the subject, too little reality and too much soaring into the heights. That is not so with Strindberg's drama. It is a trenchant settling of accounts between a complex and fascinating individual – the author-and his past, and the realistic scenes have often been transplanted in detail from his own changeful life.
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