The Pandemonium Manifestos… ‘an angry declaration of support for an art of recollection, mysticism, ecstasy, and fantasy. Comprised of absurd and grandiose phrases conjuring up loathsome images, the manifesto employs a language of apocalyptic proportions.’
Poets are men who refuse to utilize language.
The “engaged” writer knows that words are action. He knows that to reveal is to change and that one can reveal only by planning to change. He has given up the impossible dream of giving an impartial picture of Society and the human condition.
To make metaphysics out of spoken language is to make language convey what it does not normally convey. That is to use it in a new, exceptional and unusual way, to give it its full, physical shock potential, to split it up and distribute it actively in space, to treat inflections in a completely tangible manner and restore their shattering power and really to manifest something; to turn against language and its basely utilitarian, one might almost say alimentary sources, against its origins as a hunted beast, and finally to consider language in the form of Incantation. This whole active, poetic way of visualizing stage expression leads us to turn away from present-day theatre’s human, psychological meaning and to rediscover a religious, mystical meaning our theatre has forgotten.
Hegel now had just enough to live on, and he wrote to his friend Schelling asking if he could recommend a German city where Hegel could live cheaply – one with a simple local cuisine, a comprehensive library, and ‘ein gutes bier’ (a drinkable draft). At the time Schelling was the precocious star professor of the University of Jena, and he immediately encouraged Hegel to join him. (Unusually for philosophers, it appears that neither of them had good taste in beer. The local beer I tasted in Jena was certainly not in the Bundesliga of Great German Beers. I was later ominously informed that it originated from the local hospice.)