ABSTRACT
In contrast to the well-documented beginnings of the first two plays of Blok’s lyrical trilogy, the genesis of The Stranger remains something of a mystery. In their letters, notebooks, diaries, and reminiscences, Blok and his circle discussed the origins of A Puppet Show at length. And while it is true that Blok referred to The King on the Square less often than to A Puppet Show, the outlines of Blok’s work on his second play are still apparent in what remarks he did make, especially in correspondence with his friend, Evgenii Ivanov. In contrast, there are no references in any of the published letters or diaries or reminiscences of either Blok, his family, or friends to when or why Blok transformed the poem “The Stranger” into a play. The trilogy, as it were, describes an arc from the social and communal beginnings of A Puppet Show, as a statement of the Symbolist theater “Torches,” to The King on the Square, which Blok openly discussed with only his closest friends and relatives, to the very personal and private The Stranger.
