situated at the cross-roads between the post office in Dorotheenstrasse
and the cafe 'Zum Schwarzen Ferkel' in Wilhelmstrasse. This Berlin
environment appears to be almost exactly reproduced in the
introductory scene of Part I, where THE STRANGER and THE LADY meet
outside a little Gothic church with a post office and cafe adjoining.
The happy scenes by the sea are, of course, pleasant recollections
from Heligoland, and the many discussions about money matters in
the midst of the honeymoon are quite explicable when we know how
the dramatist was continually haunted by money troubles, even if
occasionally he received a big fee, and that this very financial
insecurity was one of the chief reasons why Frida Uhl's father
opposed the marriage. Again, the country scenes which follow in
Part I, shift to the hilly country round the Danube, with their
Catholic Calvaries and expiation chapels, where Strindberg lived
with his parents-in-law in Mondsee and with his wife's grandparents
in Dornach and the neighbouring village Klam, with its mill, its
smithy, and its gloomy ravine. The Rose Room was the name he gave
to the room in which he lived during his stay with his mother-in-law
and his daughter Kerstin in Klam in the autumn of 1896, as he has
himself related in one of his autobiographical books _Inferno_.
In this way we could go on, showing how the localities which are
to be met with in the drama often correspond in detail to the
places Strindberg had visited in the course of his pilgrimage
during the years 1893-1898. Space prevents us, however, from
entering on a more detailed analysis in this respect.

That THE STRANGER represents Strindberg's _alter ego_ is evident in
many ways, even apart from the fact that THE STRANGER'S wanderings
from place to place, as we have already seen, bear a direct
relation to those of Strindberg himself. THE STRANGER is an author,