ay as views today would be.
Today an audience would inevitably see the play in the context of family dysfunction and would likely be thinking that these people should have long ago gone into family therapy together to work on the psychological sources of their many and profound problems.
In Strindberg's time, on the other hand, the focus was from more social and moral positions. In other words, the audience then would likely have seen the conflict not in terms of the psychological "problems" of the family, but rather in terms of the family's reflection of social standards, or the lack thereof. In that more social and moral context, the Captain would be seen as a traditionalist who believed in the husband's and father's ultimate power in the fami
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