Alfred Jarry was a representative of the spirit of symbolism at the end of the 19th century. His work "The Foolish King" subverted traditional drama, showcasing the "uselessness of drama" and influencing surrealism and absurd theater. Yari proposed the theory of "absurd mysticism", advocating the use of non universal language of imagination to re understand and construct the world, which is the spiritual foundation of all his works. This article will combine the series of plays by Yu Bi and "Dr. Faust" to explain the dual connotations and forms of expression of absurd metaphysics.

The Absurd Metaphysics between Avant garde Aesthetics and Naughty Children's Playful Words

In depth exploration of Alfred Jarry's absurd metaphysics, which is a "science" far from metaphysics and physics, attempting to discover and establish new orders through imaginative connections in language. Absurd mysticism is defined as the science of particularity, studying the laws of exceptions, and describing non-traditional worlds. It opposes the principle of scientific induction, encourages unique perspectives, challenges universal consensus and positivism. Yari ridiculed the rational worldview through absurd metaphysics, seeking diverse truths and world ideas beyond realism, echoing Symbolist aesthetics, advocating subjective suggestion instead of objective description, and influencing the later modernist movement.

eternality

At the end of the 19th century in France, the rise of symbolism brought about a revival of mysticism and spiritualism, from which Yaris drew inspiration to confront realism and positivism with "eternity". In The Antichrist Caesar, Yari explores eternity through the cycle of life and death, viewing death as a mirror image of life. Yali's absurd mysticism links "eternity" with "space", viewing eternity as a static and dim image of space, dissolving the determinacy of time and space. His works create bizarre and fantastical character images by blurring time and space, achieving eternity beyond time and space. Yari's plays and novels break traditional narrative rules, such as the timelessness, disordered language style, and fictional locations of "The Foolish King," as well as the fantastical journey of "Dr. Faust. Yali's stage scenery is abstract, echoing the aesthetic of symbolism, providing a dreamlike background for the theatrical space. Characters such as Ubi and Faust transcend human nature and become eternal bizarre and fantastical images. Yari believes that by creating eternal characters, drama can rival the Creator and provide the elite with the joy of God's creation.

Unity of opposites

Yali's works construct the core of absurd metaphysics through the "unity of opposites", which is reflected in the combination of life and death, the deviation of reason and irrationality, and the combination of opposing things from a child's perspective. The eternity in the work is achieved through the overlap of history and reality, the interweaving of truth and fiction, and the contradictory unity of character qualities. This unity of opposites is first and foremost a linguistic phenomenon, manifested in the overlap of tragedy and student language, the combination of real place names and fictional spaces, and the coexistence of elegance and vulgarity in character dialogue. Yari portrays children's imagination of language and the world, as well as the world order from the perspective of absurd metaphysics, through irrational and polyphonic language phenomena. He constructed bizarre or fantastical characters through the combination of incompatible language, such as homophonic word combinations and binomial names, as well as absurd connections between different concepts, becoming a key element of the eternal nature of the work.