If it seems unusual to substitute that theological expression soul for figure around the materialist economy regarding naturalistic drama, there will be other caractère as Strindberg works out an cosmetic for the atomized soul of a hysterical time, soon before Freud and even Breuer began their known experiments of hysteria. Intended for instance, you can find a new verse in the preface wherever, observing that people had been increasingly interested in “psychological method, ” Strindberg—whose own works on mindset experienced been allowed Vivisections—goes on to sound, in the demystifying mode, less such as Sigmund Freud and more like Bertolt Brecht. “Our curious souls, ” he affirms, “are certainly not satisfied merely to discover something come about; we want to recognize how that happened. We wish to see the strings, the particular machinery, study the double-bottomed box, find themselves seam around the magic diamond ring, appearance at the cards in order to see the direction they are marked” (57). Nonetheless a moment after insisting of which theatricality reveal itself, that the device of production be exposed, and presumably illusion with the idea, Strindberg produces about “the technical issues with structure, ” that he features experimented in Miss Julie “with eliminating act partitions. ” Why? To preserve, similar to Nietzsche, the prospect of illusion. Or even, like Strindberg puts it: “The reason is that My partner and i feel our dwindling capacity intended for acc