33 pages • 1 hour read
August StrindbergA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Laura employs the help of Margret and Nojd to steal the Captain's house keys. Meanwhile, the Captain paces furiously, locked up in his room. Laura opens her husband's office drawers with his keys. She uses the Captain's stationary to forge a letter to the Captain's commanding officer and instructs Nojd to empty all the guns.
The pastor sits down with his sister. Laura bemoans her husband's deteriorating mental state: It has caused "the worst day and night" (67) she has ever known, beginning with his wild fantasies about Bertha's parentage and ending with him throwing a burning lamp at Laura. The pastor agrees that the Captain has lost his mind. Laura explains that the doctor has sent for a straitjacket, while she has written to the Colonel and tried to make sense of the family's finances. However, the Captain's desk holds several sentimental items that suggest that—at one time—the Captain must have loved his wife very much. Laura denies any role in her husband's struggles. When her brother points out that she stands to benefit, she stifles her laughter and defends herself. She insists that she is entirely innocent.
The doctor joins the pastor and Laura. The doctor is “convinced an act of violence has been committed” (68) but is unsure whether the Captain threw the lamp at Laura out of anger or ill mental health. Still, sending the Captain to an asylum would be better than sending him to prison for attacking his wife. The doctor unveils the straitjacket and requests that Margret help him put it on the Captain. Margret refuses to help and so does the pastor.
Nojd returns, having delivered Laura's forged letter to the Colonel. The doctor tries to get Nojd to put the Captain in the straitjacket. Margret interjects: She agrees to perform the act herself, but asks that Nojd stand by to help her, if required. The Captain pounds on the locked door. The doctor tells everyone except the pastor to hide.
The Captain bursts open the locked door and crashes into the room carrying a pile of books. He jabbers in a chaotic fashion, referring to classical and religious texts to support his theories about the dishonesty of women and the lack of certainty regarding parentage. He wonders whether the doctor and the pastor can be sure of their wives' faithfulness. Despite the doctor's polite pleas, the Captain refuses to change the subject. The doctor accuses the Captain of being “insane” (70) and the Captain admits his mental instability. He flips through a photograph album and points to pictures of Bertha, wondering whether a man can ever be sure that a child is his own. The Captain no longer believes that he has anything to live for. He wants to die and tells the others to do with him as they please. The doctor and the pastor leave; Bertha enters.
Bertha approaches her father. She asks him whether he remembers attacking Laura, but he does not. He despondently claims that, even if he did, it would not matter. Bertha is shocked; her father would never talk in such a fashion. The Captain seizes on this, assuming this means she knows that he is not her biological father. Bertha warns her father not to insult her mother by suggesting infidelity, and the Captain responds that all the women in the house are against him. When Bertha addresses the Captain as “father” (71) he holds her tightly to him, overcome with emotion. He wants her to live her life exactly as he tells her. Bertha insists that she simply wants to be herself. Now worried that Bertha will take over his life if he does not take hers, the Captain fetches a gun. Bertha tries to escape. Margret enters as the Captain realizes that the bullets have been removed from his gun.
Margret leads the Captain to a chair. As he sits down, she stands behind him with the straitjacket. Bertha leaves the room. Margret speaks calmly about her memories of raising the Captain as a young boy. He encourages her to talk, claiming that her voice soothes him. As she speaks, she takes the gun from him and places the straitjacket on him. Once she's secured the straitjacket, the Captain suddenly realizes that he is stuck. He curses Margret as he struggles to free himself. Margret begs him for forgiveness. She was worried that he would harm Bertha and tells him that he should beg God for mercy. As Margret recites a hymn, the Captain calls Nojd and tells him to throw the nurse out of the window. Nojd refuses.
Laura enters and tells Nojd to leave her alone with the Captain. The Captain now sees all women, including his mother, his sister, his wife, and his daughter, as his enemies. Laura insists that she never conspired against her husband but admits that she had to protect herself and her daughter. She asks the Captain for forgiveness if she has hurt him. The Captain questions whether love really exists, claiming that all relationships are just business transactions. Laura insists again that his fears about not being Bertha's father are completely unfounded. The Captain despairs and asks for a pillow. Laura covers him with a shawl while Margret fetches a pillow. As Laura sits beside her husband, he recalls the early days of their relationship. Margret places a pillow beneath the Captain's head and then swaps the shawl for his military tunic. He rages against the world as he sinks into the chair. Laura offers to fetch Bertha, but the Captain wails, “a man has no children; only women have children” (74). He collapses onto Margret's lap, calling out to God.
Laura calls the doctor, who enters with the pastor. The doctor examines the Captain and reveals that the man has suffered a heart attack and slipped into a coma. The pastor recites a hymn, but the doctor dismisses his words as spiritual rambling. Margret tells them that the Captain called out to God before he collapsed. The doctor can do nothing for the patient, so turns the Captain over to the pastor. Bertha enters and calls for her mother. Bertha and Laura embrace as the pastor says “amen” (75).
The final Act reveals the extent of Laura's holistic grasp of the situation. It also demonstrates that her claims to be protecting herself and her daughter may not be completely spurious. She has prepared for every possible outcome, forging letters, convincing others that the Captain is no longer sane, and turning the household against him. Having driven the Captain to the point of legally culpable violence, she disarms his guns, knowing that he reaches for weapons when angry. The fact that the Captain seems ready to shoot Bertha to prevent her from disobeying him—exactly what Laura seems to have foreseen—reveals the extent of his tyranny over the family. Laura's victory is a testament to her fierce intelligence.
The ease with which the pastor switches sides is a criticism of religion. The pastor begins the play by agreeing with the Captain's dismissal of women, happy to use his status as a benevolent priest to avoid delivering Nojd's punishment. The pastor submits to the Captain as long as the Captain is a strong, wealthy figure who commands respect. As soon as the pastor notices that his sister has successfully manipulated, he tells Laura that he admires her skill and cunning, praising the same qualities that he criticized in women in the opening scenes. He changes allegiance to follow power, untethered to strict morality despite his ostensible commitment to religion. Instead, the pastor justifies any position through a hymn, a Bible verse, or an idiom. His religion commits to nothing, supporting whomever is most rewarding.
At the end of the play, the Captain turns into a brutal, aggressive caricature of misogyny. Spouting confused and aggressive rants, consumed by his paranoia, and obsessing over Bertha's paternity, he becomes the worst version of himself. Tragically, we catch a glimpse of the tender, caring man he once was: Laura briefly recalls that version of the Captain, and he also emerges when sharing Margret's nostalgic memories. However, there is no redemption. The Captain cannot let go of his vicious hatred of all women and dies having lost everything: his house, his money, his family, and even his daughter, whom Laura claims for her own with the last line of the play.
Yet despite the Captain’s seething and murderously unhinged behavior, Strindberg resists casting his characters in wholly heroic or wholly villainous lights. This too is consistent with his naturalistic approach, as few human beings are entirely virtuous or entirely vile. In doing so, the play resists the moral or divine justice that is often meted out at the end of 19th century plays, with heroes rewarded and villains punished. While the Captain is arguably closer to a villain than Laura is, his descent into madness, followed by a coma and likely his death, is painful to witness, as Strindberg ensures that the audience retains a measure of empathy toward this all-too-human character, despite his immense flaws.
By August Strindberg