By Claude Schumacher
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Extra info for Alfred Jarry and Guillaume Apollinaire
Years later he would explain to Apollinaire that his ordinary diet consisted of raw mutton and gherkins. Another of Jarry's peculiarities which did not meet with Rachilde's approval was his habit of carrying a large revolver and occasionally discharging it. ünce, in the country, the lady who lived next door inquired about the frequent shots that were fired , as she was concerned for her own and her children's safety . While Rachilde was reassuring the anxious mother, Jarry appeared, revolver in hand.
The symbolism of the play may appear trite and obvious: man is wretched and helpless and there is no God. But Maeterlinck is giving aesthetic shape to a diffuse, yet universal feeling about human destiny. His theatre is a theatre of fear and a theatre of waiting - not the coward's obscene fear which expresses itself in histrionics, but hidden, internal and unutterable fear, which gnaws away at the soul and which sterns from forces over which we exert no control. Such waiting and such fear will only cease at the moment of death; life must be lived until then.
He lives on because Jarry wants to emphasise the blackness of the traitor and show how one act of treason leads to another. The fact that the Tsar allies hirnself with a former crony of Ubu to invade Poland removes any grandeur from the military action. With the confrontation of Ubu and the Tsar any distinct role for Macnure disappears, so Jarry disposes of hirn. He treats his characters in the same way that children do when they play a complicated improvised drama in the playground. They invent characters as the need arises and chop and change as the situation demands.