A Linguistic Potpourri of Mondegreens, Mumpsimus and Eggcorns

Creative Writing, Literary & Linguistics, Music history, Popular Culture
“Arfur D” Malapropising (Photo: ITV/Scope)

The chances are most folk with a passing interest in words and language have come across the odd Malapropism and Spoonerism in their travels. For these two terms for errors in natural speech (or if you prefer, modes of original linguistic inventiveness) we have the fictional “Mrs Malaprop” and the real life “Reverend Spooner” to thank. Myself, I tend to associate Malapropisms (the accidental substitution of a incorrect word in place of another, usually similar-sounding one) in fiction with Arthur Daley, the small-time, dodgy as-they-get wheeler dealer in TV’s Minder (“From now on the world is your lobster”, the “Arfur” Daley variation on “oyster”) and in real life with former Australian PM Tony Abbott (“the suppository of all wisdom” (should have said “repository”)). Spoonerisms are another type of verbal misstep where the speaker makes a “slip of the tongue”, accidentally transposing the initial consonants of two consecutive words, often with humorous results. One of the most referenced examples is “you have hissed my mystery lecture”, instead of “you have missed my history lecture”.

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Would the latte-sipping, smashed avocado inner city set recognise a Mondegreen, Mumpsimus or Eggcorn when they see one? Probably not, these three linguistic odd fellows are the domain of dedicated language buffs and word nerds. If the ABC conducted a vox-pop in Martin Place “Mondegreen” would likely draw a blank, however the concept itself is a different story…anyone exposed to popular music would have at some point either unknowingly committed a Mondegreen or observed someone else in the act. A Mondegreen is where you mishear or misinterpret a phrase—especially a song lyric but it could also be a line from a poem—with the result that you give it a new and different meaning. I can hear the ranks of the slightly incredulous intoning “I didn’t know there was a word for that!”

Hendrix “excuse me…”

Given the associated factors of diction and high volume noise, Mondegreenisms in modern pop music are legion, one of the most iconic is the misinterpretation by untold number of listeners of Jimi Hendrix’s line, “Excuse me while I kiss the sky” (“Purple Haze”) as “Excuse me while I kiss the guy“. Two more classic confusions warranting honourable mention are The Beatles’ “The girl with kaleidoscope eyes” transformed by an erring ear into “The girl with colitis goes by” (from “Lucy in the Sky with Diamonds”) and Johnny Nash’s “I can see clearly now, the rain has gone”, reinterpreted as “I can see clearly now, Lorraine has gone”. As these examples indicate, where the lyrics come unstuck it’s a fair chance that the culprit is a quasi-hononym.

Coining of Mondegreen: the word (but not the act) originated in 1954 with American writer Sylvia Wright…as a girl listening to her mother readIng a 18th century romantic poem she erroneously heard “Lady Mondegreen” instead of the actual lyric, “layd him on the green”. On being advised of her error Sylvia thought her interpretation “better than the original” and stuck to it, even inserting a character named “Lady Mondegreen” into her published stories.

Incoherent or indecipherable words in a song can be the source of “great storms in a teacup”. The Kingsmen’s 1963 recording of “Louie Louie” (vocalised incomprehensibly by Jack Ely) prompted an avalanche of complaints from outraged parents of teenagers about a supposed litany of obscene and pornographic lyrics in the single. Knee-jerk misinterpretations abounded from the morally-incensed in Middle America. One irate father even wrote to US attorney general Bobby Kennedy moaning about the lyrics’ “moral degradation” leading bizarrely to the FBI investigating the song (the Bureau failed to unearth any such obscenities)! All of which lends credence to the axiom that “people will hear what they want to hear” – which goes to the very heart of Mondegreens※.

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Mumpsimus are a different kettle of aquatic, craniate gill-bearing animals. Practitioners of Mumpsimus stubbornly insist on an incorrect usage…even after being proven wrong” (Fritinancy). Mumpsimustas obstinately cling to an error, bad habit or prejudice, even after the foible is exposed. Examples include the use of “all intensive purposes” in lieu of the correct phrase, “all intents and purposes”; the verbal substitution of “nuclear” with “nucular” (a proclivity of George W Bush)§.

The Eggcorn: slight of hand or sleight of hand?

Another, related form of expression that derives from mishearing and involves reinterpretation is “Eggcorn”. Eggcorns, like Mondegreens revolve around the near-homonym while differing from Mumpsimus in that their use is unconscious and unintentional. It often occurs when people are ignorant of the precise words in stock phrases and substitute what they erroneously believe to be the correct words or expression. Examples are manifold – saying “mute point” instead of “moot point”; “tenderhooks” instead of “tenterhooks”; “pass mustard” instead of “pass muster” etc ad nauseum. An essential feature of the eggcorn is that it must retain some of the original meaning as the speaker understands it (eg, Alzheimer’s disease is rendered into “Old-timer’s disease”). The term itself is an “Eggcorn”, it’s genesis can be traced back to a creative utterance from an anonymous individual who inserted the word “eggcorn” where the similarly sounding “acorn” would conventionally go (Mark Lieberman, 2003).

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※ Steven Connor suggests that cognitive dissonance is in train in the creation of Mondegreens – the brain is constantly trying “to make sense of the world by making assumptions to fill in the gaps when it cannot clearly determine what it is hearing” (‘Earslips: Of Mishearings and Mondegreens’, 2009)

§ the word Mumpsimus, a confused misinterpretation of the Latin term “Sumpsimus” (“we have received”), was accidentally coined by an old monk who doggedly persisted in using the invented word. Mumpsimus first appears in the correspondence of famous humanist scholar Erasmus Roterodamus, dating from 1516

Britain’s Tradition of Stage Censorship: The Lord Chamberlain and the Examiner of Plays, Arbiters of the Peoples’ Taste

Creative Writing, Leisure activities, Literary & Linguistics, Regional History, Society & Culture
Current Lord Chamberlain Andrew Parker (fmr MI5 head) (Source: The Times)

The Lord Chamberlain (LC) is the most senior member of Queen Elizabeth II’s Royal Household retinue. The office has been around in Britain for over 600 years, the incumbent is usually a peer and traditionally has always been male. Today, the LC handles the organisation for the Queen’s attendances at garden parties, state visits, looks after HM’s thoroughbred horses and he supervises the annual upping of the Royal swans. For much of its history though the LC had another, controversial role, censor of the British Theatre with virtual dictatorial powers — he “was answerable to no-one, not even parliament, and was not obliged to justify his decision to playwrights or theatre managers” [NICHOLSON, Steve. Theatre Censorship in Britain (1909-1968) In: Les censures dans le monde: xixe-xxie siècle[online]. Rennes: Presses universitaires de Rennes, 2016 (generated 17 novembre 2021). Available on the Internet: . ISBN: 9782753555495. DOI: https://doi.org/10.4000/books.pur.45008.] A much aggrieved George Bernard Shaw characterised the LC as the “Malvolio of St James’ Palace” [‘The Censorship of the Stage in England’, G. Bernard Shaw, North American Review, August 1899, Vol 69, No 513, pp.251-262, www.jstor.org/stable/25104865].


Walpole, the first PM (Source: History Today)


The politics of early Georgian drama
Theatre censorship had existed in England since the 16th century but institutionalising its practice as a function of the Lord Chamberlain’s Office (LCO) was a political manoeuvre by the ”First Minster“ Robert Walpole in the 1730s to blunt the weapon of satire which was being effectively used theatrically against his government. The 1737 Licensing Act handed the LC the “power of god” over the English theatre, remarkably this legislative arrangement stayed in force until as recently as 1968. Hitherto to the crackdown critics🄰 of the ruling Whig Party were relatively free to make satirical attacks through the theatre of the day to expose the political corruption of Walpole’s government. The LC’s new carte blanche powers were designed to silence a theatre increasingly hostile to Walpole and the Whigs🄱 [‘The Licensing Act of 1737’, Eliza Hay, www.ericsimpson.sites.grinnell.edu].

1737 Licensing Act


Examiner of Plays
The LC was provided with two officers to put the spadework, a Examiner of Plays🄲 and a Deputy Examiner of Plays (the offices remunerated by yearly stipends of £400 and £200 respectively). The examiners’ task, assisted by secretaries and other auxiliary staff, was to read the plays that came before them (the LC himself did precious little of the actual reading of the plays) and write “Reader’s Reports” for the LC. They were also required to visit theatres to check on their safety and comfort and to ensure that the LC’s licensing rules were being observed. Theatres without a licence were liable for prosecution and financial penalties [‘Licensing Act 1737’, Wikipedia, http://en.m.wikipedia.org]. Although the ultimate decision on a license rested with the LC, the recommendations to make or break a new play came from the examiners, little wonder then that Bernard Shaw called the examiner “the most powerful man in England or America”.

Above and beyond the spoken word and the text
Censorship was not confined to bowdlerising the texts and banning plays outright🄳, the scope of the Royal censors extended to the actors’ gestures, the costumes, the sound and lighting effects, the set and the stage directions (Nicholson).

Osborne’s 1965 play ‘A Patriot for Me’, the controversy of the dramatist’s refusal to make cuts helped end the LC’s censorship

The view from within the Lord Chamberlain’s Office bubble
The LCO saw themselves as licensors rather than censors. They never really grasped why any reasonable dramatist or manager could object to their control, concluding that playwrights who did so were just trying “to exploit an unsavoury incident or fact”. In the LCO’s Pollyanna-like world view authors of “ordinary decent plays” on the other hand had nothing to fear. The LCO took a disparaging and contemptuous view of the modern playwrights who would rail against their invervention (such as John Osborne and Edward Bond🄴). The LCO tended to justify its censoring role in patronising terms, seeing itself as a moral watchdog, protecting the average playgoer from unsavoury plays, custodians of good taste on the English stage (Nicholson).

Theatre Royal Drury Lane (Source: architectsjournal.co.uk)

Zero guidance for the artist
The Act’s vagueness placed playwrights in an additional dilemma, the office of the LC never really spelt out explicitly what constituted a play’s suitability or unsuitability for a licence, leaving dramatists and the actor-managers of theatres guessing as to the basis of the objection. Plays rejected for a licence or having their manuscripts blue-pencilled for wholesale cuts were usually generically herded under a non-specific catch-all of being either ”immoral or improper for the stage”.

St James’ Palace, home of the Lord Chamberlain (Source: Pinterest)

An effort at codifying
The 1843 Theatres Act made a partial effort at codifying and limiting the LC’s powers, stipulating that a play could only be prohibited if “it is fitting for the preservation of good manners, decorum or of the public peace”. A joint select committee in 1909 advising the LC provided further clarification of the powers, the following were said to be “no-nos” in plays: indecent subject matter; (if a play contains) “offensive personalities”; (if it infers) “violence to sentiments of religious reverence”; “represents invidious manner of living persons”; “calculated to conduce crime and vice”; “impairs friendly relations with foreign powers”🄵 [‘The Lord Chamberlain’s Plays with British Library Curator Dr Alexander Lock’, People of Theatre, (Vlog, 2021), www.peopleoftheatre.com].

‘Mrs Warren’s Profession’ (Photo: V & A Museum)

Plays that dealt seriously with contemporary issues especially sexuality were severely blue-pencilled, eg, prostitution in Shaw’s Mrs Warren’s Profession. The continuing influence of religion saw the LC come down heavily on blasphemy, the portrayal of biblical figures were taboo (eg, Oscar Wilde’s Salome. Obscene language in plays was a serious infraction of the code. Into the 20th century the censorship of the LC maintained its prescriptive role, plays that earned the ire of the examiners included such classics of the modern theatre as Waiting for Godot (bodily functions or parts, even mere sexual suggestiveness) and Cat on a Hot Tin Roof (homosexuality) which had already had a successful run on Broadway in the US. Increasingly as a result the LC was seen to be out of touch with modern concerns and realities.

Source: WNYC

Self-censorship and censorship by proxy
The LC held such control over theatrical performances in Britain that it even prompted an element of censorship by proxy. Rudolf Weiss has noted that fear of the LC‘s wrath led some playwrights to self-censor their work to secure a license and thus a hearing in Britain. Some of the autocratic actor-managers—fearful of financial losses arising from an aborted production—have done the LC’s work for them [‘“Unsuitable for theatrical presentation”: Mechanisms of censorship in later Victorian and Edwardian London Theatre’, Rudolf Weiss, www.ler.letras.up.pt].

Lord Chamberlain in 1960s, Baron Cobbold, resisted calls to abolish censorship (Artist: George JD Bruce)

End of the Lord Chamberlain’s censorship authority
Opposition to censorship was in the air in the 1960s with the emergence of a permissive society…a new generation of young playwrights like Osborne, Pinter and Bond were exploring increasingly polemical subjects in modern society. The Arts Council of Great Britain described the LC’s veto power as having “a contraceptive effect on the development of British drama” (Nicholson). The coup de grâce for theatre censorship came from the reformist Wilson Labour government🄶. The 1968 Theatres Act was part of a broad sweep of modernising legislation during the Sixties, along with the end of capital punishment, the decriminalisation of homosexuality, the introduction of the pill and the legalisation of abortion [‘50 years after Theatres Act, censorship has evolved’, Sandra Osei-Frimpong, Index on Censorship, 14-Aug-2018, www.indexoncensorship.org]. The repeal of stage censorship opened the floodgates for creativity and bold innovation – just one day after the ban ended, the controversial US counterculture musical Hair (New Age nudity, drug-taking) opened on London’s West End.

G Bernard Shaw (Source: thefamouspeople.com)


Footnote: Loophole in the system
The LCO’s net was wide but there were ways to get round the expurgator’s ban…when one Shaw play was banned in Britain for perceived profanity, the Irish playwright simply resorted to staging it in Liverpool and then Dublin. Later on some playwrights avoided the public theatre circuit altogether and put on their work exclusively at (private member) club theatres around the country. Even British drama institutions, the Royal Shakespeare Company and the Royal Court Theatre, frustrated by the LCO’s persistent interference, “threatened to turn themselves into private clubs for specific productions to evade the LC’s rulings” (Nicholson), which contributed to the groundswell of groups and individuals campaigning to end theatrical censorship.

Arts Theatre Club production, 1955 (Photo: V & A Museum)

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🄰 with dramatist Henry Fielding in the forefront along with the Jacobite opponents of the Whigs
🄱 in theory the LC’s authority was limited to Westminster but effectively its jurisdiction applied to all Theatre Royal playhouses [‘Theatrical Oligarchies: The Role of the Examiner of Plays’, Oxford Scholarship Online, www.oxford.universitypressscholarship.com]
🄲 sometimes called ‘Comptroller’, in the 20th century they have mainly been military men-turned courtiers
🄳 each year relative few plays actually got banned, expurgation was the common recourse
🄴 whose play Saved was one of the last to be banned
🄵 these grounds would prove very controversial in the 1930 when the LC Lord Cromer banned a number of English plays which were hostile towards Nazi Germany (a manifestation of London’s appeasement approach to relations with Berlin). Cromer even send some scripts to the German Embassy for their ‘approval’! [‘Theatre of War: how the monarchy suppressed anti-Nazi drama in the 1930s’, Steve Nicholson, The Guardian, 22-Jul-2015, www.theguardian.com]
🄶 the previous Labour (Attlee) government had unsuccessfully tried to pass an anti-censorship bill in 1949

𓂀 𝕒𝕓𝕔𝕕𝕖𝕗𝕘𝕙𝕚𝕛𝕜 𓂀 𝓪𝓫𝓬𝓭𝓮𝓯𝓰𝓱𝓲 ⓐⓑⓒⓓⓔⓕⓖⓗⓘ ǟɮƈɖɛʄɢɦɨ

The Law of Jante: Scandinavian Anti-exceptionalism and the Wealth and Social Status Taboo

Comparative politics, Creative Writing, Inter-ethnic relations, Literary & Linguistics, Regional politics
(Image: Scandinavian Standard)

Contemporary Scandinavian society is rich and appetising fodder for sociologists and behaviouralists. The peculiar strain of egalitarianism that runs through the Nordic countries manifests itself in a concept known as Jantelagen in Swedish or Janteloven in Danish and Norwegian⊡. The origin of the word ‘Janteloven’ comes from a 1933 satirical novel by a Danish-Norwegian writer Aksel Sandemose. A Fugitive Crosses His Tracks, set in a fictional Danish town called ‘Jante’, is “a thinly veiled roman à clef about his hometown Nykøbing Mors”, Denmark, in which he skewers the inhabitants for their foibles – “pettiness, envy, backbiting, gossip, inverted snobbery and small-mindedness” [‘The Law of Jante’, Michael Booth, Paris Review, ‪11-Feb-2015 ‬www.parisreview.org]. One small portion of En flyktning krysser sitt spor (the Norwegian title) is of lasting significance, the “Laws of Jante”⊞, the list of ten principles designed to put non-conformists in Nordic society in their place. Sandemose’s so-called ‘Laws’ draw on long and widely held, deeply engrained Scandinavian attitudes⊟.

The 10 Laws of Jante

A society devoid of exceptionalism and ‘oneupmanship’
Janteloven/Jantelagen is a concept which celebrates Nordic self-restraint, “stoic humbleness and modesty”. Any sense of individual superiority and ambition is actively discouraged, as is talking about one’s personal success. The Jante laws are cultural codes which eschew declarations of a self-congratulatory or immodest kind. Nordic “Jante-ism” offers no haven for those seeking to stand out from the crowd. The benefits for adherence, Scandinavians assert, are collective ones, good for the nation as a whole, resulting in enhanced quality of life, a contribution to the “GNP of happiness” enjoyed by its citizens⊠ [‘Jantelagen: The Law of Jante Explained’, Swedes in the States, 22-Feb-2021, www.swedesinthestates.com].

(Source: worldlife expectancy.com)

The Jante Law instructs on what citizens need to do to fit in to the community, but it has a punitive purpose too…if an individual fails to fit in, it provides a way of “socially stigmatising anyone who break the rules”. According to author Michael Booth, it affects the everyday choices Scandinavians make, what clothes you wear, what car you buy, etc [‘Forget hygge: The laws that really rule in Scandinavia’, (BBC Ideas video, 2018, www.bbc.co.uk].

“We are all equal!”

Swedish comparisons are odious: The taboo on money and status
Jantelagen is deeply rooted in the Swedish psyche, it is de rigeur for all stratum of society never to talk about one’s wealth or income. Jantelagen also prohibits people from boasting about their social status, firing off a warning shot to allay any notions they may harbour about climbing the social ladder (the codes act as a handbrake on citizens not getting above their station). The reinforcement of the appearance of an egalitarian society helps to keep the balance (ie, serving as a control mechanism, maintaining homogeneity and societal harmony). Stephen Trotter’s study of Janteloven in Norway concludes that it operates as a “form of structural censorship (where) symbolic power is exerted (in the task of) nation-building” [‘Breaking the law of Jante’, SR Trotter, Issue 23 Myth and Nation, www.gla.ac.uk].

(Source: mbastudies.com)

Anything north of average is a win!
The claimed benefits of “Jante-ism” has also been explained in terms of a state of decreased expectations – living by the ten rules installs a sense of average expectations from life, so anything that comes your way “above and beyond the average” will be a welcome bonus, value-adding to your existing store of happiness (Lindsay Dupuis)[‘The happiness of the Danes can easily be explained by 10 cultural rules’, Lila MacLellan, Quartz, 29-Sep-2016, www.qz.com].

Stockholm’s poshest precinct (Photo: Alxpin/Getty Images)

A Millennial challenge to the Law of Jante?
The fabric of Jantelagen in a society like Sweden remains firmly intact despite the reality of growing inequalities in income since the 1990s – the top 20% of workers in Sweden earn four times as much as the bottom 20% (OECD). There are some signs in the Scandinavian countries however that the fabric is coming under strain, especially from the changing expectations of the countries’ youth. The inexorable rise of social media presages a Millennial backlash against the Law of Jante… University of Bergen academic Cornelius Cappelen points to the pervasive influence of online platforms to effect behavioural change and undermine the Jante mindset, ie, bragging on Facebook, Instagram, Vlogging, etc, all promoting “rampant individualism” (Cappelin) [‘Law of Jante’, Wikipedia, http://en.m.wikipedia.org; ‘Jantelagen: Why Swedes won’t talk about wealth’, Maddy Savage, BBC, 18-Oct-2019, www.bbc.com].

(Photo: Sveriges Radio)

Exo-group influences
Aside from pushback from a social media-fuelled Scandinavian youth, challenges to the unspoken social norms of ”Jante-ism” may emerge from other sectors of society. Sweden is increasingly a migrant society, estimates put the proportion of Swedish citizens with a foreign background at around 25%…this growing diversity exposes the community to the influence of outside cultures, many of which have very different socio-cultural norms to the ‘native’ ones, such as the celebration of achievements, skills and talents of the individual (Savage).

Helsinki: Vanha kaupunki (Source: Multi Briefs)

🇩🇰 🇸🇪 🇳🇴 🇫🇮 🇮🇸

Sandemose’s stern image on a Norwegian jet

Endnote: TPS
Scandinavia’s Jante Law evokes similarities with other cultural phenomenons such as the (albeit less institutionalised) “Tall Poppy Syndrome”. This millennia-old cultural phenomenon—deriving from Ancient Greek and Roman sources—is conspicuously present in but by no means unique to the cultural ethos of Australia and New Zealand. Having freed themselves of the status of British colonies far away in the South-west Pacific, Australians and New Zealanders created through war and statehood a new and separate (mythic) identity for themselves as a ‘superior’ type of Briton…one in which “Jack was as good as his master”. This sustained myth of classlessness, sometimes described as a kind of “ideological egalitarianism down under”, was a conscious attempt to distance these “New Britons” from the rigid class system of the mother country.

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Jante laki in Finnish and Jantelögin in Icelandic
⊞ a sort of mock “informal Scandinavian Ten Commandments” (Booth)
⊟ Sandemose himself by all accounts was hardly a model Nordic citizen, irritable of nature, of questionable morality and thoroughly unpleasant to family according to his granddaughter Iben, also a writer (Booth)
⊠ UN World Happiness Report (2018) ranked the top three countries, in order, Finland, Norway and Denmark. Previously in 2016 Denmark topped the world poll

Theatre of the Absurd: Anti-Realism, Anti-Language, Anti-Play?

Creative Writing, Literary & Linguistics, Performing arts

A term you don’t hear much these days, even among the literati, is the Theatre of the Absurd. I first heard about this theatre genre in the Seventies, when I was introduced to the plays of Beckett and Pinter, and saw the film version of Ionesco’s play The Rhinceros. Even then the Theatre of the Absurd had a kind of Fifties/Sixties feel to it. So where did it come from? Well, we have drama critic and scholar Martin Esslin to thank for the expression. In the late Fifties Esslin drew the dots between the work of various, otherwise disparate and unconnected contemporary playwrights who shared a particular world view and a number of traits and preoccupations. Esslin circa 1960 wrote that these ‘Absurdist’ playwrights were attacking the “comfortable certainties of religious and political orthodoxy, shocking audiences out of their complacency, bringing them face to face with the harsh facts of the human situation”, ie, that it is essentially absurd.

The philosophical framework for Absurdism and the Theatre of the Absurd was laid by French Existentialist philosopher Albert Camus. In his 1942 essay ‘The Myth of Sisyphus’ Camus defines the human condition as basically meaningless and therefore absurd, arguing that “humanity had to resign itself to recognizing that a fully satisfying rational explanation of the universe (in Camus-speak = “formless chaos) was beyond its reach; in that sense, the world must ultimately be seen as absurd” (Crabb). Once we accept this inevitability we can get on with life.

(Source: alchetron.com)

The emergence of a new theatre in the Fifties which staunchly rejected realism and whose calling card was the statement life is meaningless was a reaction to the atrocities and unimaginable inhumanity of the Second World War. Interestingly, Esslin, following Camus, did not feel that the message of the Absurdists—the profound state of despair of humankind—was reason to be pessimistic about the world. Accepting the “mysteries of existence”—that we live in an irrational and “hostile universe” (Camus’ term), for which there are “no easy solutions” leaves (you) with “a sense of freedom and relief” and “the laughter of liberation” (Esslin).

(Image: redbubble.com)

Theatre of the Absurd precursors
Alfred Jarry’s 1896 play Ubu Roi is often thought of as “proto-Theatre of the Absurd”…bizarre, controversial, revolutionary, paper-thin plot, scatological scatterings, the characters speak in staccato sentences, Ubu Roi also highly influenced the Dadaist art and literary movement which along with Surrealism took its turn in passing the anti-realism torch on to the Theatre of the Absurd. Dadaism like the Absurdist plays was a reaction in part to war (WWI in this case)…as one of its main exponents Tristan Tzara explained: ”if human logic can lead the world to global war then art should abandon all logic and sense“. Likewise, Surrealism’s desire to shock audiences and its descent into the world of human dreams also anticipates some of the preoccupations of the Theatre of the Absurd.

Ionesco (Image: David Levine/NY Review)

A theatre movement disassociated from its creators
Unlike Surrealism and other arts genres, the Theatre of the Absurd was not a conscious movement. Despite Esslin identifying the Parisian avant-garde as its centre and Beckett, Ionesco, Genet and Adamov the leading figures of the Absurdist movement, there was no organised school of playwrights who identified themselves as its practitioners. Some like Ionesco in fact strongly objected to the label, preferring in his case the term “Theatre of Derision” to delineate his work. The exponents of this form of theatre were loosely associated, each of the playwrights arrived independently at a similar style and a vision of the futility of human existence.

Beckett (Source: samuel beckettsociety.org)

A Revolutionary and subversive Theatre of the Absurd
Playwrights like Beckett and Ionesco were committed to exploring absurdism in all its manifestations – philosophical, dramaturgical, existential, emotional, a radical form of drama that pushed the boundaries of theatre to the extremes (Dickson)…it’s distinctive features and innovations subverting the established theatre of the day. The Theatre of the Absurd radically departs from traditional theatrical conventions…dispensing with the conventional narrative of the “well-made play” with a beginning, a middle and an end, plots are typically disorganised, often with a non-linear or cyclical approach (“ever diminishing concentric circles”), nothing happens or if it does, it’s in a unmotivated way. Mysteries go unresolved and order is not restored at the end. Characters have no clear identities and have a homogeneity to them (eg, The Rhinoceros), they are not consistent even interchangeable (eg, Genet’s The Maids), characters don’t develop and are devoid of motivation or purpose.

(Source/ Exeunt NYC)

Estragon: “Nothing happens, nobody comes, nobody goes, it’s awful”.

Externally waiting for Godot
Beckett’s Waiting for Godot was one of the earliest and best known plays to be so designated, becoming an exemplar of Adsurdist theatre. It was controversially received when it premiered in 1953, later famously described by critic Vivian Mercer as “a play in which nothing happens, twice”. ‘Godot’ is a bleak tragi-comedy soaked in “existential despair”. The bleakness of the play is reinforced by the setting: no recognisable time or place, sparse set, minimally furnished. Stylistically the play is repetitive, open-ended almost empty of action but with snatches of vaudeville and philosophy. Characters utter illogical and circular dialogue while they wait…and wait for the title character (who never appears). Beckett’s later plays became more and more reductionist, language pared back towards “Endgame” silence.

Beckett’s ‘Endgame’ (Photo: New York Times)

The war on language
The breakdown of language is a preoccupation in Absurdist Theatre. In Ionesco’s The Bald Soprano language disintegrates rapidly, demonstrating it’s failure as a tool of communication. Nonsense dialogue, characters speaking in gibberish, absurdist dramas often abound in cliches, slogans and non-sequiturs. The plays of Ionesco and NF Simpson also specialise in satirising “the modern prostitution of language corrupted by salesmen and politicians”. Ionesco distinguished between the way he and Beckett assailed language: “Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words“ (Interview, Paris Review, 1984).

Rosencrantz and Guildenstern (Source: LA Times)

Representing British colours in the Club de l’Absurde were Harold Pinter (The Dumb Waiter) and Tom Stoppard…the latter’s Rosencrantz and Guildenstern are Dead involves a “Godot-esque” waiting game with a similar sense of anticlimax. ‘Ros’ and ‘Guil’, relocated from Hamlet, are interchangeable characters who pass the time engaging in philosophical musings and mind-numbing circular discourses with each other.

Camus, ‘godfather’ of Absurdist Theatre (Photo: The Telegraph, UK)

Footnote: Trans-Atlantic Absurdist
Although essentially a European movement, Esslin (less convincingly) includes American Edward Albee into the collection of Absurdist dramatists on the basis that his plays (eg, The Zoo Story) attack “America’s foundation of optimism”.

‘Zoo Story’ (Photo: Front Row Center)

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a feature of Theatre of the Absurd plays is a sense of timelessness

💢💢💢

Bibliography:

Martin Esslin, Theatre of the Absurd (1961)

Jerome P. Crabb, ‘The Theatre of the Absurd’, Theatre Database, 2006, www.theatredatabase.com

‘Nonsense talk: Theatre of the Absurd’, Andrew Dickson, Discovering Literature: 20th century, 07-Sep-2017, www.bl.uk

‘Absurdity in Theater: Ubu Roi’, Nermin Büsra Kirisik, Artil, www.artilmagazine.com

‘Beckett, Ionesco and the Theater if the Absurd: Crash Course Theater #45′ (Video, 2018)