Truth and Order in Ionescos Bald Soprano Essay -- Bald Soprano Essays

Truth and Order in Ionescos brazen triplex Any sense of comp any, of sense itself, is shattered and constantly questioned by Eugene Ionesco in his play The Bald Soprano. A serious challenge is do against an absolute picture of truth. Characters throughout the play, however, continue to struggle to maintain and mete out a unified and orderly existence. luridness is espoused by several characters. They take up that life experience is all that is necessary to establish unshakable order and thus, truth. Mrs. Smith states, Truth is never found in books, only in life (29). While this empirical debate underscores the need for an unmediated familiarity of truth, Ionesco simultaneously undermines empiricism as a viable method of attaining it. On a basic level, order diminishes, deteriorates, and virtually disintegrates as the play proceeds. Empiricism is essentially deductive in nature a logical exposit is established from direct sensory experience. This method calls into questi on veritable(a) the most commonplace assumptions. Nothing is accepted as given without sufficient proof. In this manner ordinary events like tying ones shoe or training the in the altogetherspaper in the subway are made to seem extraordinary. separately otherwise mundane experience contains a new vitality. Mr. Martin exclaims, One sees things even more extraordinary every day, when one walks around (22). The characters seem to pretermit a certain sense of familiarity (or boredom, perhaps) with such mundane events. Each experience, disregarding of size or scope, force the characters to constantly remain in the serve up of reevaluating and refining the most basic assumptions upon which their lives are based. Mrs. Smiths incessant externalized inner soliloquy at the open... ...le isolated statements cease to be intelligible. Ionescos language late in the play is a language of non sequitirs and nonsense. Far from articulating a unified notion of truth, language unleashes the cap acity to express a cacophony of voices and viewpoints. Unequivocal statements of any sort become virtually impossible because the power to negate them is plant in the fabric of language itself. Ironically, as the play reaches its seemingly chaotic crescendo, Ionesco himself seems to submit to some vaguely cyclical notion of order. The dialogue of the players disintegrates and wherefore reintegrates into a single sentence, thus allowing the play to begin again with new faces, but undoubtedly the same dramatic dnouement. Works Cited Ionesco, Eugene. The Bald Soprano. Four Plays by Eugene Ionesco. Trans. Donald M. Allen. New York Grove Weidenfeld, 1958.