LITTLE EXCEPT A SMATTERING of details can conceivably be added to the analysis of the autobiographical basis of Strindberg's Credit01's (Fordringsiigare, 1888) presented by the late Martin Lamm in his Strindbergs dramer, I, 330-348. But that analysis is frankly and almost completely an examination of the playas a reflection of Strindberg's personal idiosyncracies, his reading, his troubles with his wife as recorded in En dares forsvarstal (The Confession of a Fool, 1887) and elsewhere, and possible influences in his immediate environment. Illuminating as all these matters are, they can hardly fail to color any reader's interpretation of a play that will have to and can stand on its own merits as literature and theater for non-Swedish readers and theatergoers, who neither have access to the wealth of biographical and period background nor care particularly about the author's personal frustrations and dilemmas.