Editing Tristan Tzara (section)

===''The Approximate Man'' and later works===
After 1929, with the adoption of Surrealism, Tzara's literary works discard much of their satirical purpose, and begin to explore universal themes relating to the [[human condition]].<ref name="enotestt"/> According to Cardinal, the period also signified the definitive move from "a studied inconsequentiality" and "unreadable gibberish" to "a seductive and fertile surrealist idiom."<ref name="rcard530"/> The critic also remarks: "Tzara arrived at a mature style of transparent simplicity, in which disparate entities could be held together in a unifying vision."<ref name="rcard530"/> In a 1930 essay, Fondane had given a similar verdict: arguing that Tzara had infused his work with "suffering", had discovered humanity, and had become a "[[Clairvoyance|clairvoyant]]" among poets.<ref>Răileanu & Carassou, p.65</ref>

This period in Tzara's creative activity centers on ''[[The Approximate Man]]'', an [[Epic poetry|epic poem]] which is reportedly recognized as his most accomplished contribution to [[French literature]].<ref name="rcard530"/><ref name="enotestt"/> While maintaining some of Tzara's preoccupation with language experimentation, it is mainly a study in [[social alienation]] and the search for an escape.<ref name="enotestt"/><ref>Beitchman, p.37-42</ref> Cardinal calls the piece "an extended meditation on mental and elemental impulses [...] with images of stunning beauty",<ref name="rcard530"/> while Breitchman, who notes Tzara's rebellion against the "excess baggage of [man's] past and the notions [...] with which he has hitherto tried to control his life", remarks his portrayal of poets as voices who can prevent human beings from destroying themselves with their own intellects.<ref>Beitchman, p.37-38</ref> The goal is a new man who lets intuition and spontaneity guide him through life, and who rejects measure.<ref>Beitchman, p.40-45</ref> One of the appeals in the text reads:
{{Verse translation|
{{lang|fr|je parle de qui parle qui parle je suis seul
je ne suis qu'un petit bruit j'ai plusieurs bruits en moi
un bruit glacé froissé au carrefour jeté sur le trottoir humide
aux pieds des hommes pressés courant avec leurs morts
autour de la mort qui étend ses bras
sur le cadran de l'heure seule vivante au soleil.}}<ref name="jycmelusine"/>
|
I speak of the one who speaks who speaks I am alone
I am but a small noise I have several noises in me
a ruffled noise frozen with the crossroads thrown on the wet pavement
with the feet of the men in a hurry running with their dead
around death which extends its arms
on the dial of the hour only alive in the sun}}

The next stage in Tzara's career saw a merger of his literary and political views. His poems of the period blend a [[Humanism|humanist]] vision with [[Communism|communist]] theses.<ref name="enotestt"/><ref name="pbeit49"/> The 1935 ''Grains et issues'', described by Beitchman as "fascinating",<ref>Beitchman, p.45</ref> was a prose poem of [[social criticism]] connected with ''The Approximate Man'', expanding on the vision of a possible society, in which haste has been abandoned in favor of [[oblivion (eternal)|oblivion]]. The world imagined by Tzara abandons symbols of the past, from literature to public transportation and currency, while, like psychologists [[Sigmund Freud]] and [[Wilhelm Reich]], the poet depicts violence as a natural means of human expression.<ref>Beitchman, p.46-50</ref> People of the future live in a state which combines waking life and the realm of dreams, and life itself turns into revery.<ref>Beitchman, p.48</ref> ''Grains et issues'' was accompanied by ''Personage d'insomnie'' ("Personage of Insomnia"), which went unpublished.<ref>Beitchman, p.51</ref>

Cardinal notes: "In retrospect, harmony and contact had been Tzara's goals all along."<ref name="rcard530"/> The post-[[World War II]] volumes in the series focus on political subjects related to the conflict.<ref name="enotestt"/> In his last writings, Tzara toned down experimentation, exercising more control over the lyrical aspects.<ref name="enotestt"/> He was by then undertaking a [[Hermeneutics|hermeutic]] research into the work of [[Goliard]]s and [[François Villon]], whom he deeply admired.<ref name="spbuot"/><ref name="mrnnradi"/>