In the recent years, researchers in anthropology, political science, psychology, and sociology have begun to study how group identifications contribute to conflict, how intergroup conflict can influence identity, and, most recently, how identities might be harnessed to reduce intergroup hostility. Strindberg was able to objectify his inner conflicts, and to some extent his characters reflect the universal predicaments of mankind. Thus, though Strindberg's philosophy stems from and expresses his psychological tensions, its ultimate significance lies in its universal appeal. The attempt of this paper is to focus, not on Strindberg's psychology only but also explore the dimensions of his philosophy as it becomes manifested in his work. The study tries to reach its goal by having a journey in Strindberg's personal life. The attempt to explore the causes, consequences and nature of the contradictions, conflicts and the malicious personal relationships in Strindberg's plays, the study will be focusing on the following plays, The Father (1887), Miss Julie ( 1888), Creditors ( 1890), The Link (1897) A Dream Play (1902) and The Ghost Sonata (1907). As The Road to Damascus (1898) is central to Strindberg's philosophy, on this theme, the study also intends to give a brief look at this trilogy.