The article focuses on Père, Strindberg’s French self-translation of the play Fadren (The Father), which was published in 1888. By comparison of the Swedish and French texts, I show how Strindberg domesticated the play not only by replacing several Swedish elements with French ones, but also by modifying selected lines so that a number of ambiguous and controversial elements disappeared or were softened. The main motivation for this domestication lies in Strindberg’s desire to be played in Paris and recognized as a French author, not just by Zola and the Naturalists, but also by more traditional literary milieus. Even the physical shaping of the book was subjected to domestication: Strindberg sought to publish a false French edition, which was not presented as a translation and would identify him as a French rather than a Swedish author. Moreover, domestication was also aimed at a revision and improvement of the text, as well as relating to Strindberg’s longing for ‘Frenchness’ as opposed to his Nordic ‘provincialism’.

Keywords: August Strindberg –, translation studies –, domestication –, self-translation –, literary consecration –, history of the book