Quotes from work
Travesties

Travesties is a 1974 play by Tom Stoppard. The play centres on the figure of Henry Carr, an elderly man who reminisces about Zürich in 1917 during the First World War, and his interactions with James Joyce when he was writing Ulysses, Tristan Tzara during the rise of Dada, and Lenin leading up to the Russian Revolution, all of whom were living in Zürich at that time.

“An essentially private man who wished his total indifference to public notice to be universally recognized.”

Tom Stoppard Travesties

Carr, Act I
Source: Travesties (1974)

“War is capitalism with the gloves off and many who go to war know it but they go to war because they don't want to be a hero. It takes courage to sit down and be counted.”

Tom Stoppard Travesties

Tzara, Act I
Travesties (1974)

“I had no idea Gwendolen knew any foreign languages, and I am not sure that I approve. It's the sort of thing that can only broaden a girl's mind.”

Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

“Tzara: Causality is no longer fashionable owing to the war.
Carr: How illogical, since the war itself had causes. I forget what they were, but it was all in the papers at the time. Something about brave little Belgium, wasn't it?
Tzara: Was it? I thought it was Serbia…
Carr: Brave little Serbia…? No, I don't think so. The newspapers would never have risked calling the British public to arms without a proper regard for succinct alliteration.”

Tom Stoppard Travesties

Act I
Travesties (1974)

“Bennett seems to be showing alarming signs of irony. I have always found that irony among the lower orders is the first sign of an awakening social consciousness. It remains to be seen whether it will grow into an armed seizure of the means of production, distribution and exchange, or spend itself in liberal journalism.”

Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

“To be an artist at all is like living in Switzerland during a world war. To be an artist in Zurich, in 1917, implies a degree of self-absorption that would have glazed over the eyes of Narcissus.”

Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

“When I was at school, on certain afternoons we all had to do what was called Labour — weeding, sweeping, sawing logs for the boiler-room, that sort of thing; but if you had a chit from Matron you were let off to spend the afternoon messing about in the Art Room. Labour or Art. And you've got a chit for life? Where did you get it? What is an artist? For every thousand people there's nine hundred doing the work, ninety doing well, nine doing good, and one lucky bastard who's the artist.”

Tom Stoppard Travesties

Carr, Act I
Travesties (1974)

“I learned three things in Zurich during the war. I wrote them down. Firstly, you're either a revolutionary or you're not, and if you're not you might as well be an artist as anything else. Secondly, if you can't be an artist, you might as well be a revolutionary. … I forget the third thing.”

Tom Stoppard Travesties

Carr, Act II.
Travesties (1974)

“An artist is the magician put among men to gratify — capriciously — their urge for immortality.”

Tom Stoppard Travesties

Joyce, Act I
Stoppard called this "the most important" speech in the play.
Travesties (1974)
Context: An artist is the magician put among men to gratify — capriciously — their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships — and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes — husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer.

“An artist is the magician put among men to gratify — capriciously — their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships — and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes — husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer.”

Tom Stoppard Travesties

Joyce, Act I
Stoppard called this "the most important" speech in the play
Source: Travesties (1974)