With his last play, published posthumously, Adamov has come full circle, Si l'été revenait is primarily an exposition of a psychological nature, not a call to revolutionary action such as we have come to expect. (p. 180)

[While] Adamov's early plays present psychological subjects in something of a vacuum—semi-archetypal characters moving through a dream world that bears little relation to any specific real place—Si l'été revenait attaches the dreams to a quite solid reality—credible individuals moving in the definite and specific context of present-day Sweden. What is constant is the use of dreams to reveal otherwise hidden psychological truths. The vision in the early plays was relatively comprehensible, for the dream was Adamov's own and the distortions imposed by the device were at least consistent. This last play, however, is quite obscure, primarily because we see, in four dreams, events distorted from the points...