s her hands as if
warming them before a fire.] And so light--and so peaceful!

JEAN. [Takes the razor and puts it in her hand] There's the broom!
Go now, while it is light--to the barn--and-- [Whispers something
in her ear.]

JULIA. [Awake] Thank you! Now I shall have rest! But tell me first---
that the foremost also receive the gift of grace. Say it, even if
you don't believe it.

JEAN. The foremost? No, I can't do that!--But wait--Miss Julia--I
know! You are no longer among the foremost--now when you are among
the--last!

JULIA. That's right. I am among the last of all: I am the very
last. Oh!--But now I cannot go--Tell me once more that I must go!

JEAN. No, now I can't do it either. I cannot!

JULIA. And those that are foremost shall be the last.

JEAN. Don't think, don't think! Why, you are taking away my
strength, too, so that I become a coward--What? I thought I saw the
bell moving!--To be that scared of a bell! Yes, but it isn't only
the bell--there is somebody behind it--a hand that makes it move---
and something else that makes the hand move-but if you cover up
your ears--just cover up your ears! Then it rings worse than ever!
Rings and rings, until you answer it--and then it's too late--then
comes the sheriff--and then--

[Two quick rings from the bell.]

JEAN. [Shrinks together; then he straightens himself up] It's
horrid! But there's no other end to it!--Go!

[JULIA goes firmly out through the door.]

(Curtain.)

THE STRONGER

INTRODUCTION

Of Strindberg's dramatic works the briefest is "The Stronger." He
called it a "scene." It is a mere incident--what is called a
"sketch" on our vaudeville stage, and what the French so aptly have
named a "quart d'heure." And one of the two figures in the cast
remains silent throughout the action, thus turning the little play
practically into a monologue. Yet it has all the dramatic intensity
which we have come to look upon as one of the main characteristics
of Strindberg's work for the stage. It is quivering with mental
conflict, and because of this conflict human destinies may be seen
to change while we are watching. Three life stories are laid bare
during the few minutes we are listening to the seemingly aimless,
yet so ominous, chatter of _Mrs. X._--and when she sallies forth at
last, triumphant in her sense of possession, we know as much about
her, her husband, and her rival, as if we had been reading a
three-volume novel about them.

Smal