The idea that a norm that does not conform to the natural law cannot be legally valid is the defining thesis of conceptual naturalism. As William Blackstone describes the thesis, "This law of nature, being co-eval with mankind and dictated by God himself, is of course superior in obligation to any other. It is binding over all the globe, in all countries, and at all times: no human laws are of any validity, if contrary to this; and such of them as are valid derive all their force, and all their authority, mediately or immediately, from this original" (1979, 41). In this passage, Blackstone articulates the two claims that constitute the theoretical core of conceptual naturalism: 1) there can be no legally valid standards that conflict with the natural law; and 2) all valid laws derive what force and authority they have from the natural law.
Strindberg was an infamous misogynist, and he intended to portray Miss Julie as a monster. One can trace the genealogy of his hatred for women in some of his early works, such as Getting Married (1884), which earned him a charge of blasphemy, and The Cloister (1886), a grim portrait of his second marriage. Strindberg's misogyny was central to the many psychotic episodes he suffered throughout the 1890s, episodes that put a stop to his dramatic production altogether. In 1898, however, Strindberg took up his pen anew, writing 36 plays in the following decade. In 1907, he began experimenting with what he called an "intimate theater" based on the structures of chamber music, turning from the conventional figure of the protagonist in favor of a small and more balanced group of characters to direct his plays. The following year, Strindberg retired to his house, the famous "Blue Tower," where he lived until his death in 1912.