皮藍德羅使用辯證技巧打破真理絕對主張，敲響了現代戲劇史巨荒謬主義的現身前奏在他最著名的戲劇之一－《亨利第四》中，其滑稽怪誕的喜劇手法運用、闡釋人類生存狀態之不安與時代反思的悲劇內涵，兩者問內容與形式的矛盾，卻以隱藏式主題除劇中劇達到情節與主題、內容與形式的辯證統合，並以疏離和認同交錯的審美心理轉換激發觀眾以幽默的態度反思自身，從中可見其辯證手法的多層次，將深刻的哲理性隱含在情節劇的外表中、喜劇性的框架中、悲劇性的內涵中，使不同觀者可從中得到不同的觀劇經驗。而在其一再中述的相對主義背後，真相埋藏的真正用意卻是維護不同生存狀態下人類自我之尊嚴，其中揭示的包容性，已使皮藍德羅超越了僅僅作為一位哲理劇作家，同時出超越了荒謬。

Using dialectics to break "absolute truth", Pirandello knocked the bell which implied the premier show of the absurdism. In one of his most famous play Henry IV, the strategy combined the form of comical and grotesque manner is manipulated, while the disquiet of human being and the tragic connotation regarding introspection of the era arc interpreted. The contradiction between formalism and content is embedded by thematic play within play, and this leads dialectical unification of plot and motif form and content. In addition, the aesthetic affectivity accomplished by alternation of identification and dissociation inspires the introspection of audience. The multi-levels of the dialectical manners make the profound philosophical implication hidden under the appearance of melodrama, the frame of comic, the connotation of tragedy. All of them allow various audiences receive different experiences. Finally, the real intention behind the relativism which Pirandello appealed consecutively is to protect human dignity under different live situations. The tolerance revealed in his play makes Pirandello transcend not only to be a philosophy writer solely, but also exceed the absurdity.