Academics From France

"It is not the answer that enlightens, but the question."

"I am told, in a dream ... you can only get the answer to all your questions through a dream. So in my dream, I fall asleep, and I dream, in my dream, that I'm having that absolute, revealing dream."

"I have no ideas before I write a play. I have them when I have finished it ... I believe that aritistic creation is spontaneous. It is for me."

"‘It was a lot of fuss about nothing, wasn’t it?’"

"I am not capitulating."

"Good men make good rhinoceroses, unfortunately."

"Logician: A cat has four paws. Old Gentleman: My dog had four paws. Logician: Then it's a cat. Old Gentleman: So my dog is a cat? Logician: And the contrary is also true."

"Every work of art (unless it is a pseudo-intellectualist work, a work already comprised in some ideology that it merely illustrates, as with Brecht) is outside ideology, is not reducible to ideology. Ideology circumscribes without penetrating it. The absence of ideology in a work does not mean an absence of ideas; on the contrary it fertilizes them."

"I believe that what separates us all from one another is simply society itself, or, if you like, politics. This is what raises barriers between men, this is what creates misunderstanding. If I may be allowed to express myself paradoxically, I should say that the truest society, the authentic human community, is extra-social — a wider, deeper society, that which is revealed by our common anxieties, our desires, our secret nostalgias. The whole history of the world has been governed by nostalgias and anxieties, which political action does no more than reflect and interpret, very imperfectly. No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa."

"Oh words, what crimes are committed in your name!"

"I didn't mean you were stupid. It's just that you're not logical, which isn't the same thing at all."

"We are all Victims of Duty."

"All the plays that have ever been written, from ancient Greece to the present day, have never really been anything but thrillers... Drama's always been realistic and there's always been a detective about... Every play's an investigation brought to a successful conclusion."

"That's not it. That's not it at all. You always have a tendency to add. But one must be able to subtract too. It's not enough to integrate, you must also disintegrate. That's the way life is. That's philosophy. That's science. That's progress, civilization."

"There are now many invisible people on stage."

"Ionesco believes that the irrational is man's intuitive form of vision. Everything that claims to be rational and realistic is a distortion of that vision, a shield raised against the absurdity of existence."

"Most people readily exchange their nightly dreams for what passes as reality in the morning papers. Not Eugéne Ionesco. The celebrated playwright of the absurd prefers to dwell on his own private late late shows."

"Over the past thirty years, Ionesco has been called a “tragic clown,” the “Shakespeare of the Absurd,” the “Enfant Terrible of the Avant-Garde,” and the “Inventor of the Metaphysical Farce” — epithets that point to his evolution from a young playwright at a tiny Left Bank theater to an esteemed member of the Académie Française."

"My work has been essentially a dialogue with death, asking him, “Why? Why?” So only death can silence me. Only death can close my lips."

"People who don’t read are brutes. It is better to write than to make war, isn’t it?"

"To introduce people to a different world, to encounter the miracle of being, that is important. When I write “The train arrives at the station,” it is banal, but at the same time sensational, because it is invented."

"I have always regretted having gotten involved with literature up to my neck. I would have preferred to have been a monk; but, as I said, I was torn between wanting fame and wishing to renounce the world. The basic problem is that if God exists, what is the point of literature? And if He doesn’t exist, what is the point of literature? Either way, my writing, the only thing I have ever succeeded in doing, is invalidated.-->"

"I let characters and symbols emerge from me, as if I were dreaming. I always use what remains of my dreams of the night before. Dreams are reality at its most profound, and what you invent is truth because invention, by its nature, can’t be a lie. Writers who try to prove something are unattractive to me, because there is nothing to prove and everything to imagine. So I let words and images emerge from within. If you do that, you might prove something in the process."

"People always try to find base motives behind every good action. We are afraid of pure goodness and of pure evil."

"It’s a play about the life and martyrdom of a modern saint, who has just been canonized by the Church — or is it beatified? Which comes first? I’m not sure. Anyway, his name was Father Maximilian Kolbe, a Pole, and he died in Auschwitz. They were going to send some prisoners to a mine, where they would die of hunger and thirst. Father Kolbe offered to go instead of a man who had a wife and children and didn’t want to die. That man is still alive. … It won’t matter to me at all whether the Church canonizes him or not. The important thing is that such a man existed. -->"

"I have never been to the Right, nor have I been a Communist, because I have experienced, personally, both forms of totalitarianism. It is those who have never lived under tyranny who call me petit bourgeois."

"Béranger represents the modern man. He is a victim of totalitarianism — of both kinds of totalitarianism, of the Right and of the Left. When Rhinoceros was produced in Germany, it had fifty curtain calls. The next day the papers wrote, “Ionesco shows us how we became Nazis.” But in Moscow, they wanted me to rewrite it and make sure that it dealt with Nazism and not with their kind of totalitarianism. In Buenos Aires, the military government thought it was an attack on Perónism."

"You know, the Cathars believed that the world was not created by God but by a demon who had stolen a few technological secrets from Him and made this world — which is why it doesn’t work. I don’t share this heresy. I’m too afraid! But I put it in a play called This Extraordinary Brothel, in which the protagonist doesn’t talk at all. There is a revolution, everybody kills everybody else, and he doesn’t understand. But at the very end, he speaks for the first time. He points his finger towards the sky and shakes it at God, saying, “You rogue! You little rogue!” and he bursts out laughing. He understands that the world is an enormous farce, a canular played by God against man, and that he has to play God’s game and laugh about it."

"The French Revolution liberated people from the power of the aristocrats. But the bourgeoisie that took over represented the exploitation of man by man, and had to be destroyed — as in the Russian Revolution, which then degenerated into totalitarianism, Stalinism, and genocide. The more you make revolutions, the worse it gets. Man is driven by evil instincts that are often stronger than moral laws … there is a higher order, but man can separate himself from it because he is free — which is what we have done. We have lost the sense of this higher order, and things will get worse and worse, culminating perhaps in a nuclear holocaust — the destruction predicted in the Apocalyptic texts. Only our apocalypse will be absurd and ridiculous because it will not be related to any transcendence. Modern man is a puppet, a jumping jack."

"You can stay in society and be alone, as long as you can be detached from the world. This is why I don’t think I have ever gone for the easy option or done things that were expected of me."

"I found ancestors, like Shakespeare, who said, in Macbeth, that the world is full of sound and fury, a tale told by an idiot, signifying nothing. Macbeth is a victim of fate. So is Oedipus. But what happens to them is not absurd in the eyes of destiny, because destiny, or fate, has its own norms, its own morality, its own laws, which cannot be flouted with impunity. Oedipus sleeps with his Mummy, kills his Daddy, and breaks the laws of fate. He must pay for it by suffering. It is tragic and absurd, but at the same time it’s reassuring and comforting, since the idea is that if we don’t break destiny’s laws, we should be all right. Not so with our characters. They have no metaphysics, no order, no law. They are miserable and they don’t know why. They are puppets, undone. In short, they represent modern man. Their situation is not tragic, since it has no relation to a higher order. Instead, it’s ridiculous, laughable, and derisory."

"The theater chose me. As I said, I started with poetry, and I also wrote criticism and dialogue. But I realized that I was most successful at dialogue. Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well."

"The Pataphysique is not dead. It lives on in the minds of certain men, even if they are not aware of it. It has gone into “occultation,” as we say, and will come back again one day."

"To speak and to offend is with some people but one and the same thing; they are biting and bitter; their words are steeped in gall and wormwood; sneers as well as insolent and insulting words flow from their lips. It had been well for them had they been born mute or stupid; the little vivacity and intelligence they have prejudices them more than dullness does others; they are not always satisfied with giving sharp answers, they often attack arrogantly those who are present, and damage the reputation of those who are absent; they butt all round like rams — for rams, of course, must use their horns. We therefore do not expect, by our sketch of them, to change such coarse, restless, and stubborn individuals. The best thing a man can do is to take to his heels as soon as he perceives them, without even turning round to look behind him."

"The Characters of La Bruyère may be regarded as a production of a unique kind. No examples of such a work are to be found in the classics any more than of Télèmaque. The public were struck by a style at once rapid, terse and vigorous, by picturesque expressions, in a word, by a totally new use of the language which did not, however, break its rules; and the numerous allusions contained in the work crowned its success. When La Bruyère showed the manuscript of his work to M. de Malezieu, the latter said to him: "Here is something which will bring you many readers and many enemies." When the generation that was attacked in this book had passed away, its reputation declined. Nevertheless, as there are some books which belong to all time and to all countries, it is probable that it will never be forgotten."

"Shortly afterwards the public lost a writer of genius renowned for his style and knowledge of humanity. I speak of La Bruyère, who died of apoplexy at Versailles, after excelling Theophrastes in his own manner, by portraying quite inimitably the men of our time in his Charactèrs. He was a very decent sort of man and excellent company, simple, not at all the pedant, and wholly sincere. I knew him well enough to regret both his death and the books which his age and health had led one to expect from him."

"La Bruyère is not a speculative moralist, but an observer of the manners of men, or, as he likes to call himself, a philosopher, and above all a Christian philosopher."

"Quel avantage n'a pas un discours prononcé sur un ouvrage qui est écrit! Les hommes sont les dupes de l'action et de la parole, comme de tout l'appareil de l'auditoire. Pour peu de prévention qu'ils aient en faveur de celui qui parle, ils l'admirent, et cherchent ensuite à le comprendre: avant qu'il ait commencé, ils s'écrient qu'il va bien faire; ils s'endorment bientôt, et le discours fini, ils se réveillent pour dire qu'il a bien fait. On se passionne moins pour un auteur: son ouvrage est lu dans le loisir de la campagne, ou dans le silence du cabinet; il n'y a point de rendez-vous publics pour lui applaudir. ... On lit son livre, quelque excellent qu'il soit, dans l'esprit de le trouver médiocre; on le feuillette, on le discute, on le confronte; ce ne sont pas des sons qui se perdent en l'air et qui s'oublient; ce qui est imprimé demeure imprimé."

"Entre le bon sens et le bon goût il y a la différence de la cause à son effet."

"One mark of a second-rate mind is to be always telling stories."

"L'une des marques de la médiocrité de l'esprit est de toujours conter."

"Most men make use of the first part of their life to render the last part miserable."

"La plupart des hommes emploient la meilleure partie de leur vie à rendre l'autre misérable."

"Ainsi les postes éminents rendent les grands hommes encore plus grands, et les petits beaucoup plus petits."

"Il n'y a pour l'homme que trois événements: naître, vivre et mourir. Il ne se sent pas naître, il souffre à mourir, et il oublie de vivre."

"L'on doit se taire sur les puissants: il y a presque toujours de la flatterie à en dire du bien; il y a du péril à en dire du mal pendant qu'ils vivent, et de la lâcheté quand ils sont morts."

"[L]e plus fort et le plus pénible est de donner; que coûte-t-il d'y ajouter un sourire?"

"La ville est partagée en diverses sociétés, qui sont comme autant de petites républiques, qui ont leurs lois, leurs usages, leur jargon, et leurs mots pour rire. Tant que cet assemblage est dans sa force, et que l'entêtement subsiste, l'on ne trouve rien de bien dit ou de bien fait que ce qui part des siens, et l'on est incapable de goûter ce qui vient d'ailleurs: cela va jusques au mépris pour les gens qui ne sont pas initiés dans leurs mystères."

"Il y a des âmes sales, pétries de boue et d’ordure, éprises du gain et de l’intérêt, comme les belles âmes le sont de la gloire et de la vertu; capables d’une seule volupté, qui est celle d’acquérir ou de ne point perdre."

"Il n'y a au monde que deux manières de s'élever, ou par sa propre industrie, ou par l'imbécillité des autres."