u from the
tyranny of ignorance and superstition, that I set you to rule my
house, that I gave you position and friends, that I made a woman
out of the child you were before? Forgive me as I forgive you!--
Now I have torn up your note! Now you can go and settle your
account with the other one!

TEKLA. What have you done with him? I am beginning to suspect--
something terrible!

GUSTAV. With him? Do you still love him?

TEKLA. Yes!

GUSTAV. And a moment ago it was me! Was that also true?

TEKLA. It was true.

GUSTAV. Do you know what you are then?

TEKLA. You despise me?

GUSTAV. I pity you. It is a trait--I don't call it a fault--just
a trait, which is rendered disadvantageous by its results. Poor
Tekla! I don't know--but it seems almost as if I were feeling a
certain regret, although I am as free from any guilt--as you! But
perhaps it will be useful to you to feel what I felt that time.--
Do you know where your husband is?

TEKLA. I think I know now--he is in that room in there! And he has
heard everything! And seen everything! And the man who sees his
own wraith dies!

(ADOLPH appears in the doorway leading to the veranda. His face is
white as a sheet, and there is a bleeding scratch on one cheek.
His eyes are staring and void of all expression. His lips are
covered with froth.)

GUSTAV. [Shrinking back] No, there he is!--Now you can settle with
him and see if he proves as generous as I have been.--Good-bye!

(He goes toward the left, but stops before he reaches the door.)

TEKLA. [Goes to meet ADOLPH with open arms] Adolph!

(ADOLPH leans against the door-jamb and sinks gradually to the
floor.)

TEKLA. [Throwing herself upon his prostrate body and caressing
him] Adolph! My own child! Are you still alive--oh, speak, speak!--
Please forgive your nasty Tekla! Forgive me, forgive me, forgive
me!--Little brother must say something, I tell him!--No, good God,
he doesn't hear! He is dead! O God in heaven! O my God! Help!

GUSTAV. Why, she really must have loved _him_, too!--Poor creature!

(Curtain.)

PARIAH

INTRODUCTION

Both "Creditors" and "Pariah" were written in the winter of 1888-
89 at Holte, near Copenhagen, where Strindberg, assisted by his
first wife, was then engaged in starting what he called a
"Scandinavian Experimental Theatre." In March, 1889, the two plays
were given by students from the University of Copenhagen, and with
Mrs. von Essen Strindberg as _Tekla_. A couple o