I set to work. Conscientiously I copied whole sentences from my primer with the purpose of memorizing them. Rereading them attentively, I learned not English but some astonishing truths – that, for example, there are seven days in the week, something I already knew; that the floor is down, the ceiling up, things I already knew as well, perhaps, but that I had never seriously thought about or had forgotten, and that seemed to me, suddenly, as stupefying as they were indisputably true. As the lessons became more complex, two characters were introduced, Mr and Mrs Smith: To my astonishment, Mrs Smith informed her husband that they had several children, that they lived in the vicinity of London, that their name was Smith, that Mr Smith was a clerk, that they had a servant, Mary – English, like themselves. . . . I should like to point out the irrefutable, perfectly axiomatic character of Mrs Smith’s assertions, as well as the entirely Cartesian manner of the author of my English primer; for what was truly remarkable about it was its eminently methodical procedure in its quest for truth. In the fifth lesson, the Smiths‘ friends the Martins arrive; the four of them begin to chat and, starting from basic axioms, they build more complex truths: „The country is quieter than the big city . . .“
Ionesco über die Entstehung seines ersten Theaterstücks: La Cantatrice Chauve zitiert nach: Copyright © Baylor® University.
Eugène Ionesco, rumänisch-französischer Schriftsteller, (26.11.1909 – 28.03.1994)