By Sarah Welsh

            Before writing The Ghost Sonata in 1907, August Strindberg experienced a crisis of temporary insanity from 1894-1897. This period of intense depression and paranoia occurred after the failure of his first of three marriages and was heavily fueled by alcoholism. It was later dubbed “the Inferno Crisis” after Strindberg reflected on the experience in his semi-autobiographical novel, Inferno. The novel follows its narrator as he navigates suffering and guilt in pursuit of spiritual enlightenment. His obstacles include false friends that attempt to betray and harm him, and demonized women who tempt and abuse him. These characters are direct reflections of Strindberg’s own paranoia and three bitter divorces in which he lost connections to his children. 

            Like Strindberg, Inferno’s narrator is convinced of the existence of unseen forces that target and control his life. He interprets strange coincidences, such as letters with his wife’s maiden name, as omens meant specifically for him. During this period in Strindberg’s life, everyday occurrences took on supernatural meanings, representing a break from reality. The narrator’s experimentation with black magic in the novel reflects Strindberg’s real-life obsession with alchemy and mysticism. Additionally, his paranoia was revealed in letters to those close to him where he describes his fear of going insane and his suspicions that he was constantly being watched. 

            Strindberg’s “Inferno Crisis” directly influenced his belief system and his later works, including The Ghost Sonata. His explorations of suffering and dream-like states of reality are heavily featured in The Ghost Sonata, along with characters who embody his complex beliefs on humanity. Characters such as Director Hummel represent the despicable parts of humanity feared by Strindberg. Hummel is defined by his adultery and manipulation, and is constantly spying on those around him to gain advantages over them. Meanwhile the Student, Arkenholz, bears resemblance to Strindberg’s view of himself as the intellectual in pursuit of understanding in a corrupt world. Arkenholz’s perception of reality is altered as the events of Ghost Sonata unfold and he discovers a world of guilt and deception. 

Influenced by his failed marriages, Strindberg’s portrayal of women in his works is often pessimistic, defined by destruction and adultery. The Ghost Sonata mentions four women- the Mummy, the Fiancée, the Superintendent’s Wife, and the Lady in Black- who engage in affairs. These women resemble Strindberg’s first wife, Siri von Essen, who was a married noblewoman when she was rumored to have started her affair with him. Their marriage lasted for fourteen years, resulting in three children and the creation of the Scandinavian Experimental Theatre, both of which he lost when they divorced. Another female character, the Cook, is characterized as a “vampire,” who is defined by her greed and fueled by draining the life out of those around her. The remaining women, the Milkmaid and the Young Lady, represent Strindberg’s complicated views on innocence, and both meet tragic ends as results of the wickedness around them. 

Although defined by suffering, isolation, and paranoia, August Strindberg’s “Inferno Crisis” served as an essential turning point in his outlook on the world, which heavily influenced his later works. The Ghost Sonata is shaped by his exploration of a world filled with guilt, torment, and distorted reality. Strindberg channeled his personal anguish into his work, leaving the world with the innovative theatrical qualities that define The Ghost Sonata. 
 

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