Stockholm, January 28, 1881. [-] In case you are still thinking of putting on my play Master Olof, I am enclosing the first manuscript [-] as it was written in 1872, and as it was then refused by the Royal Theatre.

It is poor, I think, [-] but in this prose version there are crowd scenes which ought to work splendidly on the stage, especially if you were to take charge of them. [-]

Naturally, I cannot share the opinion of those who wish to turn it into a closet drama. It is written for the stage, and with cuts and additions it can, I believe, become a theatre piece. [-]

January 17, 1882. [-] Having carefully pondered the idea of restructuring Lucky Peter, and having paid close attention to the changes you suggest, I’ve arrived at the following scheme, which I’d like you to examine carefully before I do anything, since nothing ruins a play more than too much tinkering with it, witness Master Olof. [-]

Peter has gone out into the world and tried the best life has to offer – riches, friendship, honor, power – and found them all empty and hollow. Now he's in the Caliph's palace cursing humanity and wishing he was in the midst of nature, which is said to heal all wounds. He curses society.

Change of scene. He is lying on the seashore; awakens, becomes enraptured; waxes lyrical, gathers oysters, eats birds’ eggs, catches a turtle, drinks water from a crevice in the rocks. Everything is fine, but there's a biting wind and he starts to feel cold. There's no fire. For that's something man has conquered and not part of nature. This reveals the inadequacy of nature and his Rousseauist-Robinsonian ideas are shattered. He recognizes the necessity of society, but after his recent experiences, he still hates it.