“The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself.”

— Martin Esslin

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

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Playwright, theatre critic, scholar 1918–2002

Martin Esslin (1918–2002) Playwright, theatre critic, scholar

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet; the difference, to take an example from another sphere, between the idea of God in the works of Thomas Aquinas or Spinoza and the intuition of God in those of St. John of the Cross or Meister Eckhart — the difference between theory and experience.

“A poetry of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life.”

Matthew Arnold (1822–1888) English poet and cultural critic who worked as an inspector of schools

Wordsworth, originally published as "Preface to the Poems of Wordsworth" in Macmillan's Magazine (July 1879)
Essays in Criticism, second series (1888)
Context: If what distinguishes the greatest poets is their powerful and profound application of ideas to life, which surely no good critic will deny, then to prefix to the word ideas here the term moral makes hardly any difference, because human life itself is in so preponderating a degree moral.
It is important, therefore, to hold fast to this: that poetry is at bottom a criticism of life; that the greatness of a poet lies in his powerful and beautiful application of ideas to life — to the question, How to live. Morals are often treated in a narrow and false fashion, they are bound up with systems of thought and belief which have had their day, they are fallen into the hands of pedants and professional dealers, they grow tiresome to some of us. We find attraction, at times, even in a poetry of revolt against them; in a poetry which might take for its motto Omar Khayam's words: "Let us make up in the tavern for the time which we have wasted in the mosque." Or we find attractions in a poetry indifferent to them, in a poetry where the contents may be what they will, but where the form is studied and exquisite. We delude ourselves in either case; and the best cure for our delusion is to let our minds rest upon that great and inexhaustible word life, until we learn to enter into its meaning. A poetry of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life.

“A lazy, indolent church tends toward unbelief; an earnest, busy church, in hand-to-hand conflict with sin and misery, grows stronger in faith.”

John Hall (1829–1898) Presbyterian pastor from Northern Ireland in New York, died 1898

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 147.

“One hand I extend into myself, the other toward others.”

Dejan Stojanovic (1959) poet, writer, and businessman

"Almighty Shape," p. 9
The Shape (2000), Sequence: “Home of the Shape”

“There is only one necessary condition for the emergence of a new theatre, that the stage and auditorium should be open to the masses, should be able to contain a people and the actions of a people.”

Romain Rolland (1866–1944) French author

Le Théâtre du peuple (1903)

“All the elements will be seen mixed together in a great whirling mass, now borne towards the centre of the world, now towards the sky; and now furiously rushing from the South towards the frozen North, and sometimes from the East towards the West, and then again from this hemisphere to the other.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

"Of Water, which flows turbid and mixed with Soil and Dust; and of Mist, which is mixed with the Air; and of Fire which is mixed with its own, and each with each."
The Notebooks of Leonardo da Vinci (1883), XX Humorous Writings

“The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.”

Robert Motherwell (1915–1991) American artist

1951; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory'
from his responding at the 1951 MoMA symposium, in which several artists were asked to respond to the prompt 'What Abstract Art Means to Me'
1950s

“The logic of the poet — that is, the logic of language or the experience itself — develops the way a living organism grows: it spreads out towards what it loves, and is heliotropic, like a plant.”

Thomas Merton (1915–1968) Priest and author

The Secular Journal of Thomas Merton (1959)
Context: There is a logic of language and a logic of mathematics. The former is supple and lifelike, it follows our experience. The latter is abstract and rigid, more ideal. The latter is perfectly necessary, perfectly reliable: the former is only sometimes reliable and hardly ever systematic. But the logic of mathematics achieves necessity at the expense of living truth, it is less real than the other, although more certain. It achieves certainty by a flight from the concrete into abstraction. Doubtless, to an idealist, this would seem to be a more perfect reality. I am not an idealist. The logic of the poet — that is, the logic of language or the experience itself — develops the way a living organism grows: it spreads out towards what it loves, and is heliotropic, like a plant.

“In all great poetry there is a kind of “kenosis” of the understanding, a self-emptying of the tongue. Here language points away from itself to something greater than itself.”

L. P. Jacks (1860–1955) British educator, philosopher, and Unitarian minister

The Usurpation Of Language (1910)
Context: The poet takes us straight into the presence of things. Not by explanation, but by indication; not by exhausting its qualities, but by suggesting its value he gives us the object, raising it from the mire where it lies trodden by the concepts of the understanding, freeing it from the entanglements of all that “the intellect perceives as if constituting its essence.” Thus exhibited, the object itself becomes the meeting-ground of the ages, a centre where millions of minds can enter together into possession of the common secret. It is true that language is here the instrument with which the fetters of language are broken. Words are the shifting detritus of the ages; and as glass is made out of the sand, so the poet makes windows for the soul out of the very substance by which it has been blinded and oppressed. In all great poetry there is a kind of “kenosis” of the understanding, a self-emptying of the tongue. Here language points away from itself to something greater than itself.

“If your language lacks poetry and paradox, it’s unequal to the task of accounting for actuality. Otherwise anything radically new is literally unspeakable.”

Bob Black (1951) American anarchist

The Libertarian as Conservative (1984)

“The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself.”

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