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If it seems peculiar for you to substitute that biblical expression soul for character inside the materialist economy of naturalistic drama, there will be other threats as Strindberg works out a good visual for the atomized spirit of a hysterical age, soon enough before Freud in addition to Breuer began their known research of hysteria. Regarding instance, there is a verse in the preface where, observing that people were being increasingly interested in “psychological course of action, ” Strindberg—whose personal essays on mindset had been allowed Vivisections—goes with to sound, inside the demystifying mode, less such as Sigmund Freud and more similar to Bertolt Brecht. “Our inquisitive souls, ” he claims, “are certainly not satisfied just simply to discover something take place; we want to recognize how the idea happened. We would like to begin to see the strings, typically the machinery, look at the double-bottomed box, have the seam around the magic band, glimpse at the cards to help see that they are marked” (57). Yet a instant after insisting that theatricality reveal itself, that this tool of production possibly be open, and presumably illusion having this, Strindberg produces with regards to “the technical facets of arrangement, ” that he possesses experimented in Miss Julie “with eliminating act limbs. ” Why? To maintain, such as Nietzsche, the prospect of illusion. Or, because Strindber