Editing August Strindberg (section)

===1890s===
[[File:August Strindberg by Edvard Munch.jpg|thumb|right|[[Edvard Munch]] ''Portrait of August Strindberg'', 1892, [[Moderna Museet|Museum of Modern Art]], [[Stockholm, Sweden]]]]
On midsummer's day, 1891, while staying with Siri and her close friend, the Danish woman Marie Caroline David, on the island [[Runmarö]], in the [[Stockholm Archipelago]], Strindberg suspected Siri was having a long-term affair with David, and he violently assaulted her, precipitating the end of the marriage. <ref>{{cite web | url=https://stockholmskallan.stockholm.se/post/24641 | title=August Strindberg - dömd för misshandel i Värmdö häradsrätt | date=2 December 2021 }}</ref>

After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. [[Symbolism (arts)|Symbolism]] was just beginning at this time. [[Verner von Heidenstam]] and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: ''Debit and Credit'' (1892), ''Facing Death'' (1892), ''Motherly Love'' (1892), and ''The First Warning'' (1893). His play ''The Keys of Heaven'' (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, ''Playing with Fire'' (1893), and the first two parts of his post-inferno trilogy ''To Damascus'' (1898–1904).

In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. [[Otto Brahm]]'s Freie Bühne theatre premiered some of his famous works in Germany, including ''The Father'', ''Miss Julie'', and ''[[Creditors (play)|Creditors]]''.
[[File:Ślewiński August Strindberg.jpg|thumb|[[Władysław Ślewiński]], ''Portrait of August Strindberg'', 1896, [[National Museum in Warsaw]]]]
Similar to 20 years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to [[Frida Uhl]], who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me."

Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and [[Olof Lagercrantz]], believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as [[botany]], [[chemistry]], and [[optics]] before returning to literature with the publication of ''Inferno'' (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, ''Legends'', and a semi-dramatic novella, ''Jacob Wrestling'' (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of [[Emanuel Swedenborg]] on his current work.

[[File:Eric XIV - M. Chekhov 1921.jpg|thumb|left|175px|[[Michael Chekhov]] as Erik in the [[Moscow Art Theatre]] 1921 production of Strindberg's play ''[[Eric XIV (play)|Erik XIV]]'' (1899).]]
"The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As [[William Blake]], [[Ralph Waldo Emerson]], [[Honoré de Balzac]], and [[William Butler Yeats]] had been, he was drawn to [[Swedenborg]]'s mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by [[Divine Providence|Providence]] to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life.

Strindberg had spent the tail end of 1896 and most of 1897 in the university town of [[Lund]] in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; ''Inferno, Legends'' and ''Jacob Wrestling'' were written there. In 1899, he returned permanently to Stockholm, following a successful production there of ''Master Olof'' in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically", he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: ''The Saga of the Folkungs'' (1899), ''Gustavus Vasa'' (1899), and ''Erik XIV'' (1899) and ''[[A Dream Play]]'' (written in 1901, first performed in 1907).