Abstract
STUNDBERG'S Dream Play is customarily lauded for its originality, the power of its dialogue and the beauty of its verse, the opportunity it offers to peer into the strange mind of its creator, and for the welcome contrast its compassionate mood offers to the hysteria of Strindberg's other plays. But those who begin by citing its virtues almost invariably conclude that technical innovations and stage tricks are no substitute for thought and meaning; that subjectivity results in artistic chaos; that verses of such beauty require a more imposing setting; and that, when all is said and done, bursting chrysanthemums are no substitute for the verbal fireworks of Strindberg's sex battles. In a word, A Dream Play is technically original, historically important, but utterly incoherent.
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