Abstract
In some ways the relation between Strindberg and Ibsen is entirely obvious. The echoes of Peer Gynt in Lucky Pellr's Journey and the attack on A Doll's House in Sir Bengt's Wife require no comment; nor does it seem to me at all unlikely — even though the original titles are not as similar as their English translations — that The Ghost Sonata has to do with Ghosts in an oblique manner. In both the visionary and the realistic modes, the attempt to surpass Ibsen is a constant factor in Strindberg's intention; Strindberg is always more extreme, but the distance separating him from Ibsen is still finite, Ibsen's presence in his background still discernible.
Published Version
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