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For us, today, typically the more offensive aspect of Strindberg's critique is possibly the matter of male or female, beginning with his statement of which “the theater has always been a new open school for the youthful, the half-educated, and women of all ages, who still possess of which primitive capacity for deceiving on their own or letting on their own be deceived, that is to say, are sensitive to the illusion, to help the playwright's power regarding suggestion” (50). It can be, nevertheless, precisely this benefits of suggestion, more than that, typically the hypnotic effect, which is definitely at the paradoxical center of Strindberg's vision regarding theater. As for precisely what he says of women (beyond his or her feeling the fact that feminism was initially an elitist privilege, for women of this upper classes who had period to read Ibsen, while the lower classes travelled asking, like the Coal Heavers within the Marina in his play) his or her idea fissa is such that, which includes remarkably cruel portraits, they almost surpasses critique; or even his misogyny is many of these the particular one may say connected with that what Fredric Jameson said of Wyndham Lewis: “this particular idée fixe can be so extreme as to be nearly beyond sexism. ”5 I think some of you may still want to help quarrel about that will, to which Strindberg may well reply with his phrases in the preface: “how can certainly people be main goal as soon as their intimate thinking are offende