WHILE STRINDBERG REMAINED as fascinated as ever by his own time after his Inferno years of 1894 to 1897, he became more intensely interested than ever before in the late Middle Ages as well. That two-fold interest helped lead to many developments, among them his creation of new dramatic techniques through (1) the extension of his superb realistic-naturalistic technical practices of the pre-Inferno period, (2) the transformation of medieval dramatic ideas and devices into techniques that became highly Strindbergian, and (3) the addition of modern technical elements that were essentially his own. All three matters, taken together, are frequently and loosely' spoken of as expressionistic by most scholars and critics.