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But we are gifted, even in November,
Rawest of seasons, with so huge a sense
Of her nakedly worn magnificence
We forget cruelty and past betrayal,
Heedless of where the next bright bolt may fall.
--
"The White Goddess," lines 18–22, from Poems and Satires (1951)

 

Robert Graves

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What do you mean, why? Is it not obvious? What is life but a betrayal? We start out young, full of hope. The sun is good; the world awaits us. But every passing year shows how small you are, how insignificant against the power of the seasons. Then you age. Your strength fails, and the world laughs at you through the jeers of younger men. And you die. Alone. Unfulfilled. But sometimes ... sometimes there will come a man who is not insignificant. He can change the world, rob the seasons of their power. He is the sun.

 

David Gemmell

 

In the middle classes the gifted son of a family is always the poorest—usually a writer or artist with no sense for speculation—and in a family of peasants, where the average comfort is just over penury, the gifted son sinks also, and is soon a tramp on the roadside.

 

John Millington Synge

 

Theater of Cruelty means a theater difficult and cruel for myself first of all. And, on the level of performance, it is not the cruelty we can exercise upon each other by hacking at each other’s bodies, carving up our personal anatomies, or, like Assyrian emperors, sending parcels of human ears, noses, or neatly detached nostrils through the mail, but the much more terrible and necessary cruelty which things can exercise against us. We are not free. And the sky can still fall on our heads. And the theater has been created to teach us that first of all.

 

Antonin Artaud

 

If one looks back at the short period of time of the Badoglio government, one must remember that the Italian longing and need for peace was no secret to the German command. Since the German retreat at el Alamein in November 1942 and the collapse of the Italian Army on the eastern front, the Italians had repeatedly stated their weariness of battle and had made certain suggestions. In steadily increasing numbers, measures were being taken by the German military command out of fear for the Axis loyalty of Italy. As the course of events showed, the view on betrayal dominated all other German reflections, nourished by the fall of Mussolini and his style of leadership.

 

Walter Warlimont

 

The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.

 

Antonin Artaud