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August Strindberg's pragmatic tragedy Miss Julie, plays on the shifts in authority and power. Whether staged involving the Count's sway on his servants or his daughter, the aristocrat Miss Julie over Jean, the Count's valet, or even more interestingly the vice versa of the latter relationship. The playout of this dominant personality in the connection is built not only by the limitations of class, social status, and frequently gender within context but also the fluidity of tone and conversation within the drama. Literary attention of speech length, tone, and the implication of what's said in context may underline the imbalance of power centering on Miss Julie's character. In doing this, that the playwright's usage of such literary techniques namely on page 22 of Miss Julie, reveals his intentions to inflict specific senses of these characters over the play to the crowd. If Jean romanticizes about putting together a resort by a river abroad somewhere in Romania, it's an exaggerated dream in which Miss Julie will function not just as his monetary aid but also his private slave, inverting their functions and reinforcing the concept of patriarchy and male dominance. Though Miss Julie was born into the top stratum of society devoting her authoritative electricity, Jean faces a superiority complex and admits that he "wasn't born to fend" (Strindberg 21) along with his inferior social status and adds, employing a hyphen, that he is a man. Therefore, Strindberg's identifies one of society's broadly shared assumptions on gender behavior and satisfies exactly what's believed to be socially appropriate behavior and encouraging gender inequality. The continuation of Jean's justification punctuates how the oppressive verb "to cringe" is not an act a male character could po...