Strindberg's works in English translation: Plays translated by Edwin Bjorkman; _Master Olof_, American Scandinavian Foundation, 1915; _The Dream Play, The Link, The Dance of Death_, New York, Charles Scribner's Sons, 1912; _Swanwhite, Simoon, Debit and Credit, Advent, The Thunderstorm, After the Fire,_ the same, 1913; _There Are Crimes and Crimes, Miss Julia, The Stronger, Creditors, Pariah_, the same, 1913; Bridal Crown, _The Spook Sonata, The First Warning, Gustavus Vasa_, the same, 1916. Plays translated by Edith and Warner Oland, Boston Luce & Co., Vol. I (1912), _The Father, Countess Julie, The Stronger, The Outlaw_; Vol. II (1912), _Facing Death, Easter, Pariah, Comrades_; Vol. III (1914), Swanwhite, Advent, The Storm, Lucky Pehr_, tr. by Velma Swanston Howard, Cincinnati, Stewart & Kidd Co., 1912. _The Red Room_, tr. by Ellie Schleussner, New York, Putnam's, 1913; _Confession of a Fool_, tr. by S. Swift, London, F. Palmer, 1912; _The German Lieutenant and Other Stories_, Chicago, A. C. McClurg & Co., 1915; _In Midsummer Days and Other Tales_, tr. by Ellie Schleussner, London, H. Latimer, 1913; _Motherlove_, tr. by Francis J. Ziegler, Philadelphia, Brown Bros., 2nd ed., 1916, _On the Seaboard_, tr. by Elizabeth Clarke Westergren, Cincinnati, Stewart & Kidd Co., 1913; _The Son of a Servant_, tr. by. Claud Field, introduction by Henry Vacher-Burch, New York, Putnam's, 1913; _The Growth of a Soul_, tr. by Claud Field, London, W. Rider & Co., 1913; _The Inferno_, tr. by Claud Field, New York, Putnam's, 1913; _Legends, Autobiographical Sketches_, London, A. Melrose, 1912; _Zones of the Spirit_, tr. by Claud Field, introduction by Arthur Babillotte, London, G. Allen & Co.

INTRODUCTION

These stories originally appeared in two volumes, the first in 1884, the second in 1886. The latter part of the present edition is thus separated from the first part by a lapse of two years.

Strindberg's views were continually undergoing changes. Constancy was never a trait of his. He himself tells us that opinions are but the reflection of a man's experiences, changing as his experiences change. In the two years following the publication of the first volume, Strindberg's experiences were such as to exercise a decisive influence on his views on the woman question and to transmute his early predisposition to woman-hating from a passive tendency to a positive, active force in his character and writing.