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His aim is to lead us to a deeper realisation, on a mystical and metaphysical level, of the ultimate reality of life. To Maeterlinck, as to Prometheus, the soul and the intangible are far more important than the physical world. The outlook of Maeterlinck and the symbolists was pessimistic and contemplative: true reality is beyond the material world which we can grasp; the true life is beyond the life we live in the here and now. The heightened sense of awareness afforded by such works leads not to action but to a passive acceptance of the human condition and the inevitability of death .

The role of Macnure sheds interesting light on Jarry's methods. First, he is the instrument of Ubu's regicide. The assassination plot or the act itself 43 Alfred Jarry and Guillaume Apollinaire would not succeed without his determined collaboration. In the opening sequences he is Ubu's accomplice, but he does not disappear, and after the coronation he becomes an opponent. The character is kept alive for thematic reasons. Ubu could have dispatched hirn down the hatch with the nobles. v) but it is only on the battlefield that he finally tears hirn to pieces, when (although every other dead body is allowed to rise again) Macnure remains dead.

Ah! Oh! I'm dead! It's at least a cannon-ball that's just hit me. Ah! dear God, forgive me my sins. Yes, it was a cannon-ball all right. MACNURE. I put a blank cartridge in my pisto!. UBU. Ah, you're making fun of me, are you now? All right, into my pocket with you. ) (UP, p. 57) UBU. Tearing people to bits is one of Ubu's favourite pastimes! In his letter to Lugne-Poe about the staging of Ubu, Jarry advocated the use of a single actor to portray the Polish army and other crowds. He suggests that a single nobleman be used for the massacre of the nobility.

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