and abject fear. In Strindberg, misogyny turns into downright gynophobia. To him, woman is not an object of disdain, but the cruel and merciless persecutor of man. In order to disclose the most dangerous traits of the feminine soul, Strindberg dissects it by a method that corresponds closely to Ibsen's astonishing demonstration of masculine viciousness. The wide-spread dislike for Strindberg's dramas is due, in equal parts, to the detestableness of his male characters, and to the optimistic disbelief of the general public in the reality of womanhood as he represents it. Strindberg's portraiture of the sex appears as a monstrous slander, principally because no other painter has ever placed the model into the same disadvantageous light, and the authenticity of his pictures is rendered suspicious by their abnormal family resemblance. He was obsessed with the petrifying vision of a uniform cruel selfishness staring out of every woman's face: countess, courtezan, or kitchen maid, all are cast in the same gorgon mold.
Strindberg's aversion towards women was probably kindled into action, as has already been intimated, by his disgust at the sudden irruption of woman worship into literature; but, as h
