Amedee by Eugene ionesco

Critic Martin Eslin hailed Ionesco’s theater as a far more effective illustration of Albert Camus’s
concept of the absurd than Camus himself had ever written for the stage.
Absurdity in Amedee
Ionesco—in Eslin's view—presents on the stage the absurd in its purest form, more true to
life (if less “realistic”) by the mere fact of its apparent gratuity. Indeed, it is difficult to
imagine a more effective illustration of dehumanizing habit than is to be found among
Ionesco’s peculiarly automated characters, whose aspirations (if any) have long since been
separated from their lives. When death threatens (as it often does in the later plays), Ionesco’s
habit-conditioned characters will often proceed as lambs to the slaughter in a manner even
more credible than the “philosophical suicide” described by Camus in (1942; The Myth of
Sisyphus, 1955) as a characteristic human response to the absurd.
Absurd Characters
in Ionesco’s theater, nearly all forms of human behavior are duly stripped of acculturated
meaning, shown to be as absurd and out of phase as they often seemed to Camus himself. In
Amédée, the telephone-operator wife “goes to work” at a switchboard in her own apartment
while her husband, a writer, labors over the same phrases that have occupied him fruitlessly
for years.
Amedee, or How to Get Rid of It" is a one-act play written by Eugène Ionesco, a prominent
figure in the Theatre of the Absurd movement. The play explores themes of decay, stagnation,
and the absurdity of human existence.
Summary
The play revolves around the mundane lives of Amedee, an unsuccessful writer, and his wife
Madeleine. The couple's apartment becomes a symbolic representation of their deteriorating
relationship and the broader human condition. Amedee discovers a giant, amorphous, and
rapidly growing corpse in their living room. This mysterious creature serves as a metaphor for
repressed anxieties, unspoken truths, and the decay that lurks beneath the surface of
seemingly ordinary lives.
Despite the grotesque nature of the corpse and its unsettling presence, Amedee and
Madeleine struggle to deal with the situation. They engage in absurd conversations and
actions, highlighting the absurdity and meaninglessness of their lives. The characters' inability
to confront the growing corpse becomes a metaphor for society's avoidance of uncomfortable
truths and the inevitability of decay.
 As the corpse continues to expand, it becomes a disruptive force that ultimately takes over the
apartment and traps the characters in their own existential dilemma. Amedee and Madeleine
are unable to escape the consequences of their inaction and are left to grapple with the
absurdity of their lives. The play is characteristic of Ionesco's style in the Theatre of the Absurd,
using absurd situations and language to comment on the absurdity of human existence and the
challenges of communication and understanding in a seemingly chaotic and meaningless
world.
"Amedee" as an Absurd play
"Amedee, or How to Get Rid of It" by Eugène Ionesco is indeed a classic example of an absurd
play. In this work, Ionesco employs absurdity to comment on the human condition, the
breakdown of communication, and the inherent absurdities of existence. Here are some
aspects of "Amedee" that highlight its absurd nature with references from the text:
• The Absurdity of the Situation: The central premise of the play revolves around the presence
of a rapidly growing, amorphous corpse in Amedee and Madeleine's apartment. The absurdity
of the situation is evident in Amedee's reaction when he first discovers the corpse:
"AMEDÉE: A sort of a lump... it's blocking up the window... like a huge pastry or
something..."
The surreal nature of the growing corpse challenges the audience's expectations of a
conventional, realistic plot.
Lack of Logical Plot Progression: Absurdist plays tend to abandon traditional plot structures. In
"Amedee," the narrative lacks a linear storyline. The play is fragmented, featuring disjointed
scenes and dialogues that don't follow a typical cause-and-effect pattern. Instead, it
emphasizes the absurdity of life through the disjointedness of events.
Existential Themes: Absurdist plays often delve into existential themes, focusing on the human
experience in a chaotic and irrational world. "Amedee" explores themes like decay, the
passage of time, the breakdown of communication, deception, and isolation. These themes
highlight the absurdity of the characters' lives and their futile attempts to find meaning in an
inherently meaningless world.

• Breakdown of Communication: Ionesco often explores the breakdown of communication in

his works, and "Amedee" is no exception. The characters engage in absurd conversations that
highlight their inability to communicate effectively. For example:
"MADELEINE: (shrugs her shoulders) There are times when I don't understand what you're
saying.
AMEDÉE: That's right. Sometimes I don't understand myself."
The play is known for its absurd and nonsensical dialogue. Amedee and Madeleine engage in
conversations that are disjointed and illogical. For example, Amedee says to Madeleine:
"There's something you don't know. You must know that I haven't been telling you
everything. We were perfectly happy. It's awful. Yes, I swear to you, we were perfectly
happy." highlight the absurdity of human communication and the struggle to convey
meaningful messages.
Sense of Alienation and Isolation: Amedee and Madelein are isolated from each other and
from the outer world. In Amedee, Ionesco shows the loneliness of the sensitive both as an
artist and as a human being in a world that loses its metaphysical dimension in favour of
materialism. Amedee and his wife, Madeleine, have not left their apartment for fifteen years.
social alienation
They experience a form of social alienation as they grapple with the absurdity of the situation.
They even get their food supplies through the window in a basket. This alienation contributes
to the overall sense of existential angst portrayed in the play. They lack external support or
understanding from the society around them. Amedee voices his frustration with the lack of
assistance: "I don't have a single friend in the world. Not one. Nobody. You know what that
means? Nobody. Not one person. No one."
Isolation from each other
Amedee and Madelein’s marriage lacks understanding, love and intimacy. Thus, the absence of
love deprives their marital life of meaning and purpose. It creates barriers that prevent them
from reaching each other. They live together while remaining strangers and converse without
communicating. Amedee expresses the isolation within their relationship:
"It's as if we've never known each other. You're going to think I'm mad, I'm crazy, completely
crazy. I've been hiding it from you for a long time, I hid it because I was afraid of you."
The only thing that keeps them together is the corpse in their bedroom. "In our shared space,
an oppressive solitude reigned. We were islands adrift, isolated by our own existential
uncertainties, unable to bridge the unspoken chasms that separated us."
Trapped in Absurdity: The characters in "Amedee" are ultimately trapped in their absurd
situation, unable to escape the consequences of their inaction. Amedee and Madeleine are
immobilized by the growing corpse, emphasizing the sense of entrapment. Amedee laments:
"I can't budge. I'm stuck. I'm caught. My hands are stuck."
Amedee expresses his frustration:
"Everything I do is utterly useless. I'm worn out. I'm exhausted. There's nothing more I can
do. There's no way out of this."
 This physical entrapment symbolizes the existential entanglement and the inescapable nature
of the absurd.
Corpse as a symbol of decay The giant corpse serves as a powerful symbol in the play,
representing repressed anxieties, decay, and the consequences of avoiding uncomfortable
truths. Amedee and Madeleine's inability to address the growing corpse symbolizes society's
tendency to ignore impending issues. Amedee remarks:
"AMEDÉE: ... It's sort of a big heap... and you don't know where to begin... So we just talk
and talk and talk..."
The inability to take meaningful action adds to the absurdity of the play. The gap between him
and Madeleine is growing wider and wider just as the corpse is growing bigger and bigger. It is
“the corpse of the couple’s dead love, the victim of their sexual incompatibility. It is a corpse
made up of disgust, guilt, and regret.” It poisons the atmosphere of their home with the
mushrooms of decay and degeneration.
• Lack of Resolution: In typical absurd fashion, "Amedee" lacks a conventional resolution. The
play ends with the characters still trapped in their absurd situation. Amedee expresses a sense
of helplessness:
"AMEDÉE: We're going to suffocate... We can't stand it any longer... (silence)"
.
In "Amedee," Ionesco uses absurdity not only to create humor but also to provoke thought
about the absurdities inherent in human existence, the breakdown of communication, and the
consequences of avoiding uncomfortable truths.
The theme of decay and deterioration
• In "Amedee, or How to Get Rid of It" by Eugène Ionesco, the theme of decay and
deterioration is a prominent element, both in the physical sense of the growing corpse
and as a metaphor for the characters' lives.
Physical Decay of the Corpse: The central metaphor of the play is the rapidly growing corpse
in Amedee and Madeleine's apartment. Amedee describes the grotesque nature of the
situation:
"I tell you, the swelling has not stopped, not for a moment, since it began. It's terrifying!"
Amedee comments on the grotesque situation:
"It's terrifying! We must do something. We can't leave it like this. We mustn't! We must! It's
hideous! Horrifying!"
This quote emphasizes the physical decay of the corpse, symbolizing the inescapable and
unsettling aspects of mortality.
• Metaphorical Decay of the Relationship: The play also explores the decay within Amedee and
Madeleine's relationship. Amedee reflects on the state of their connection:
"It's as if we've never known each other. You're going to think I'm mad, I'm crazy, completely
crazy. I've been hiding it from you for a long time, I hid it because I was afraid of you."
This quote suggests the decay of emotional intimacy and understanding between the
characters.
Decay of the Apartment: The setting of the play, particularly the apartment where Amedee
and Madeleine live, becomes a symbol of decay. Amedee describes the state of their living
space:
"Our apartment was so lovely, so bright and cheerful, all freshly painted, and look at it now!
Everything is falling apart!"
This quote reflects the physical deterioration of the environment, mirroring the internal decay
within the characters' lives. The physical state of the corpse becomes a symbol for the
inevitable process of deterioration. Amedee remarks:
"It's not very nice to see the dead swollen. The stench is unbearable. The body is being eaten
away. There's a kind of maceration."

• Symbolic Decay of Society: The theme of decay extends to a broader societal level, symbolized
by the characters' futile attempts to conform to societal norms. Amedee expresses his
frustration with the lack of support:
"I don't have a single friend in the world. Not one. Nobody. You know what that means?
Nobody. Not one person. No one."
This quote underscores the decay of social connections and the characters' isolation within a
seemingly indifferent society.
• Hopelessness in the Face of Decay: As the situation worsens, Amedee expresses a sense of
hopelessness and resignation:
"Everything I do is utterly useless. I'm worn out. I'm exhausted. There's nothing more I can
do. There's no way out of this."
This quote captures the despair and futility that arise from the characters' inability to address
the physical and metaphorical decay surrounding them.
In "Amedee," Ionesco uses the motif of decay to explore the inevitability of physical and
emotional deterioration, both on an individual and societal level.
Existential crisis
 "Amedee, or How to Get Rid of It" by Eugène Ionesco explores themes of existential crisis,
depicting characters who grapple with the absurdity of existence and the challenges of
confronting uncomfortable truths. Here are several aspects of existential crisis evident in the
play:
• Absurdity and Meaninglessness: The absurdity of the situation, with a rapidly growing and
grotesque corpse taking over the characters' lives, contributes to a sense of meaninglessness.
The characters, particularly Amedee, are confronted with a surreal and absurd reality that
defies logical explanation. Amedee expresses this sense of absurdity:
"You're going to think I'm mad, I'm crazy, completely crazy. I've been hiding it from you for a
long time, I hid it because I was afraid of you. There's no solution."
The lack of a rational solution adds to the characters' existential crisis.

• Futility and Hopelessness: As Amedee and Madeleine attempt to address the absurd situation,
their efforts become increasingly futile. The struggle to get rid of the growing corpse reflects a
sense of hopelessness in the face of existential challenges. Amedee expresses his exhaustion
and despair:
"Everything I do is utterly useless. I'm worn out. I'm exhausted. There's nothing more I can
do. There's no way out of this."
The characters' inability to find a resolution contributes to a deeper existential crisis.
Decay and Deterioration: The presence of the growing corpse symbolizes the decay inherent
in life. It serves as a constant reminder of mortality, the transience of existence, and the
inevitable decay of relationships. Amedee and Madeleine's inability to address the decaying
corpse reflects their avoidance of confronting the harsh realities of existence, contributing to
their existential crisis.
Quotation example: "The corpse, a grotesque monument of decay, loomed larger each day—
a testament to the decay within us. Its presence mirrored the crumbling foundation of our
lives, forcing us to confront the inevitable decay inherent in all existence."
The Passage of Time: Time, an unstoppable force, emphasizes the fleeting nature of life.
Characters, particularly Amedee and Madeleine, grapple with the irreversibility of time and
their inability to control or halt its progression. The swelling has not stopped, not for a
moment, since it began. It's terrifying!
Amedee reflects on the perpetual nature of the situation, emphasizing a sense of temporal
confusion:
"There's no solution. It's been going on for hours, days, weeks, months, maybe years. I don't
know. I've lost all sense of time."
 The relentless march of time accentuates their existential angst and the ultimate futility of
trying to defy its flow. Quotation example: "Each passing second echoed the inexorable
passage of time. We, mere spectators in life's relentless journey, sought to grasp the
ungraspable, only to find ourselves consumed by its ceaseless flow."
• Confrontation with the Absurd: The play begins with the discovery of a grotesque corpse that
serves as a catalyst for an existential crisis, challenging the characters to make sense of their
lives and the meaning behind the bizarre events. Amedee reflects on the absurdity of the
situation:
"There's something you don't know. You must know that I haven't been telling you
everything. We were perfectly happy. It's awful. Yes, I swear to you, we were perfectly
happy."
The absurdity disrupts the characters' sense of normalcy, prompting them to confront
existential questions.
• Avoidance and Denial: The characters in "Amedee" grapple with existential dilemmas by
avoiding and denying uncomfortable truths. Amedee and Madeleine attempt to ignore the
growing corpse, representing the human tendency to turn away from existential challenges.
Amedee expresses his fear and avoidance:
"I'm afraid of seeing it, that's all. I'm afraid of facing it. I don't want to look at it."
The avoidance becomes a coping mechanism, but it also contributes to the characters'
existential crisis.
• Symbolic Representation: The growing corpse serves as a symbolic representation of
existential decay and the inevitable aspects of life and death. The characters' reactions to the
corpse mirror the ways individuals grapple with the profound questions of existence. Amedee
reflects on the symbolic nature of the situation:
"It's not very nice to see the dead swollen. The stench is unbearable. The body is being eaten
away. There's a kind of maceration."
The decay of the corpse becomes a metaphor for the decay inherent in human existence.
Ionesco, as an absurdist playwright, uses absurd situations and disjointed dialogues to
underscore the existential crises faced by his characters. Through the absurdity of the growing
corpse, the breakdown of communication, and the characters' evasion of reality, Ionesco
prompts audiences to confront the futility of human existence and the chaos inherent in life.
His characters' struggles epitomize the existentialist dilemma, reflecting the sense of
meaninglessness, the quest for identity, and the struggle to find purpose within a world devoid
of inherent meaning.

Importance of time
 the concept of time plays a significant role in contributing to the characters' existential crisis.
Here are three quotes that highlight the role of time in the existential crisis in "Amedee":
• Temporal Disorientation and the Unending Situation: The characters in the play experience a
disorientation in time, especially as the absurd events unfold without a clear resolution.
Amedee reflects on the perpetual nature of the situation, emphasizing a sense of temporal
confusion:
• "There's no solution. It's been going on for hours, days, weeks, months, maybe years. I
don't know. I've lost all sense of time."

• Futile Attempts and progression of Time: Amedee and Madeleine's futile attempts to get rid
of the corpse emphasize the characters' inability to control or halt the progression of time. The
decay and growth persist despite their efforts, accentuating the sense of helplessness. Amedee
reflects on the futility of his actions:
"Everything I do is utterly useless. I'm worn out. I'm exhausted. There's nothing more I can
do. There's no way out of this. I can't budge. I'm stuck. "
The characters' actions become symbolic of the struggle against the inexorable movement of
time.
• Physical and Emotional Entanglement: The characters' entanglement in the absurd situation
represents an entrapment in time. Amedee's physical entrapment is coupled with emotional
entanglements. Amedee expresses :
"I can't budge. I'm stuck. I'm caught. My hands are stuck. There's no way out of this."
This entrapment suggests a sense of being ensnared by the consequences of their actions over
time.
Existential Despair: The characters' entanglement in the absurd events is compounded by the
relentless march of time, contributing to their existential despair. Amedee, feeling trapped and
unable to escape the situation, expresses a sense of temporal entanglement:
"It's true, I'm a nobody, a complete failure. I've done nothing, absolutely nothing. I can't
write a word. I'm a fraud, a fake, a liar."
This quote captures the entanglement of personal failures and existential despair, emphasizing
the role of time in intensifying the characters' sense of hopelessness.
In "Amedee, or How to Get Rid of It" by Eugène Ionesco, the theme of time plays a significant
role in intensifying the characters' existential crisis. The passage of time becomes a source of
anxiety, despair, and a reminder of the inevitability of change.
. Amedee: Amedee, the protagonist, embodies the theme of denial and passivity. He is a
middle-aged man who grapples with his inability to confront reality, choosing instead to live in
denial. Amedee represents the common human tendency to evade harsh truths, exemplifying
self-deception as he ignores the growing corpse in his apartment, a symbol of decay and the
deteriorating relationship with his wife, Madeleine.
Throughout the play, Amedee struggles with a lack of agency, allowing circumstances to
dictate his actions. He's torn between acknowledging the truth and maintaining the facade of
normalcy. His passivity symbolizes the futility of attempting to control the uncontrollable,
namely the passage of time and the decay inherent in existence.
2. Madeleine: Madeleine, Amedee's wife, also contributes significantly to the play's themes.
She epitomizes the breakdown of communication and the struggle with isolation. Madeleine,
like Amedee, engages in self-deception, avoiding confronting the reality of the decaying
relationship and the corpse in their apartment. She reflects the difficulty of establishing
genuine connections due to miscommunication and emotional distance.
Madeleine's character represents the human inclination towards denial and isolation,
contributing to the overall sense of absurdity and alienation prevalent in the play. Her inability
to effectively communicate or understand Amedee reinforces the theme of failed connections
and existential loneliness.
3. The Growing Corpse: The growing corpse serves as a central, symbolic element in the play,
representing decay, mortality, and the passage of time. As the play progresses, the corpse
visibly expands, signifying the inevitability of decay and the characters' inability to escape the
consequences of their denial and inaction.
The presence of the corpse is a constant reminder of the characters' self-deception and their
futile attempts to ignore the realities of life's decay. It embodies the decay of relationships and
the deterioration of values, becoming a physical manifestation of the themes explored in the
play.
Technically speaking, both Beckett and Ionesco liberate their plays form the traditional
concepts of plot, characters, action and language. Thematically speaking, their plays are, in
some way or another, calls for liberation. Beckett tries to liberate the audience from the
illusion of hope and the delusion of familial and social relationships. Ionesco calls for the
liberation of individual, even if this liberation is achieved at the expense of familial
commitment and social duties