In philosophical discussions, absurdity describes the irrationality and lack of coherence in human existence. As a literary notion, absurdity seems almost perfectly suited for Pere Ubu. Throughout the play, Pere Ubu remains completely unaware of the chaos surrounding him. Acts of murder, dismemberment, and even trampling a townsfolk member while handing out gold—none of these horrors appear to affect him. Moreover, Pere Ubu’s life is absurd in another way: his apparent purpose is to kill everyone, and the actions leading to these killings can be described as “irrefutably logical.” For Ubu, logic is synonymous with killing everyone.

Alfred Jarry imagined a revolutionary theater guided by two core ideas: the imperative to "create new life" on stage by crafting innovative characters, and the desire to transcend the "mundane occurrences of everyday life."

Pere Ubu represents this novel character type, much like Jarry himself. Jarry not only wrote about Pere Ubu's escapades but also embodied them. He adopted Ubu's distinctive walk and spoke in Ubu's abrupt, mechanical style. The novelist Andre Gide observed that Jarry seemed devoid of human qualities, remarking, "A nutcracker, if it could talk, would behave no differently. He asserted himself with complete confidence and utter disregard for social niceties." Jarry would fish for his neighbors' chickens from trees and drive waiters to distraction by ordering and eating meals in reverse, starting with dessert. Eventually, Jarry's acquaintances began to call him Pere Ubu.

In terms of surpassing ordinary actions and situations, Jarry introduced a kind of "shock treatment." Ubu's initial line ("Merdre!") was a perfect example of this. Jarry sought to jolt passive audiences who were used to realistic theater. By using stock characters and slapstick comedy, reminiscent of Punch and Judy puppet shows, he could explore universal themes while escaping the "lived reality" limitations of traditional theater.

Ubu Roi predates the official start of Dadaism by about a decade. Nevertheless, Pere Ubu and his creator, Alfred Jarry, appear to be suitable forerunners of this literary and artistic movement. Dadaism was dedicated to dismissing all conventional values in both philosophy and the arts. The Dada review stated its aim was to replace logic and reason with intentional lunacy, and to exchange traditional concepts of beauty or harmony with purposeful disorder.

The concept of the Ubermensch comes from Nietzsche’s Thus Spake Zarathustra, symbolizing the pinnacle of human purpose. Individuals are encouraged to focus on worldly goals, devoting their lives to these pursuits. From the destruction born from such dedication, the "Ubermensch" is expected to arise.

In the chaos of Ubu Roi, Pere Ubu emerges, though he resembles more of a "Stupidman." Ubu represents the antithesis of Nietzsche’s Superman. While he embodies an ongoing journey of self-creation, distinct and indefinable, he remains perpetually unfinished, much like his creator, Alfred Jarry.

The central figure of Ubu Roi, as described by critic Martin Esslin, emerges as a brutally exaggerated portrayal of a foolish, self-centered bourgeois. Seen through the cynical perspective of a schoolboy, this character transcends the realm of simple social satire. With traits reminiscent of Rabelais and the cowardly greed of Falstaff, Ubu embodies a more sinister dimension. He is not just a reflection of societal absurdities; he stands as a harrowing representation of humanity's baser instincts—its inherent cruelty and relentless ruthlessness.

The play unfolds in an imagined realm, a fictitious Poland, where the boundaries of reality blur, giving rise to a setting that is both everywhere and nowhere. Alfred Jarry's depiction of this imaginative land reflects a place historically fragmented and torn apart, mirroring the chaos and absurdity that permeate its narrative. At the heart of...

In Alfred Jarry's world of "Ubu Roi," the titular character Père Ubu stands as a grotesque emblem of unrestrained self-interest and brutal insensitivity. Within his corpulent form, only his own desires matter; others are mere objects to be exploited and discarded. His wife, lamenting his tyrannical ways, confronts him, "But look here, Père Ubu, what sort of a king do you think you are, you kill everyone." This stark observation captures the essence of Ubu's egocentric brutality, a symptom of his fundamental inability to recognize anyone's existence beyond his own.

Ubu's lack of empathy is not an isolated trait but rather part of a broader deficiency: a total absence of self-awareness. As noted by Roger Shattuck, Ubu lacks any "insight into his own monstrosity," remaining oblivious to the havoc he wreaks. His obtuseness is so profound that when pursued by the Czar, he genuinely wonders, "This madman is chasing me! What have I done..." His actions, in his view, are accidental rather than deliberate wrongdoings.

Ubu's detachment from reality extends to his language, which fails to align with the world around him. Jarry skillfully manipulates this dissonance, not just for comedic effect but to underscore a deeper absurdity. He clarifies, "Ubu’s speeches were not meant to be full of witticisms," but rather they consist of "stupid remarks, uttered with all the authority of the Ape." Ubu's proclamations, therefore, resonate with a hollow authority, reflecting the absurdity of his rule and the chaotic world Jarry depicts.

Jarry's Ubu Roi serves as a scathing critique of bourgeois morality and its shallow pretensions, using language as a tool to expose its emptiness. Through the absurd concern of conspirators with "how to kill a king properly," Jarry unveils the hollowness of bourgeois values. He skillfully inverts traditional meanings, turning gallantry into treachery and dignity into bestiality, challenging the viewer to reassess what society often holds dear.

The character names in Ubu Roi are laden with significance, often functioning as scatological puns—Bordure becomes "Macnure" and Bourgelas "Buggerlas." This playful language undercuts the serious veneer of bourgeois norms. Mère and Père Ubu, meaning "ma and pa," are the antithesis of the ideal bourgeois parents—childless, selfish, and grotesque caricatures of parental figures. Jarry’s parody extends to his use of classic sources from Sophocles and Shakespeare, which he flips into Rabelaisian farce. Where these classics dignify human struggles, Jarry substitutes them with a world driven by greed and gluttony, depicting a universe where goodness appears in only its weakest form and rarely, if ever, triumphs.

This inversion is encapsulated in Père Ubu's interaction with King Wenceslas; he flatters him with false kindness, only to reveal murderous intent in an aside. This duality conveys the duplicity that Jarry sees as endemic to bourgeois society. Ubu and his cohorts, including his wife and Bordure, are emblematic of bourgeois man, driven by self-interest and deceit. In this realm, treachery and duplicity are the norm, while understanding, justice, fidelity, and compassion—qualities briefly glimpsed in characters like the magistrates and Bourgelas—are rare exceptions.

Ultimately, Ubu Roi is a deeply unsettling work, as it brutally uncovers the truths that civilization prefers to hide. Barbara Wright aptly characterizes the play, stating that it goes beyond crude humor to reveal a facet of truth about society, challenging audiences by shamelessly exposing the hypocrisy behind the polished facade of bourgeois morality.