La condition humaine entre les miroirs symboliques de la féminité et l’autospécularité – Eugène Ionesco, Le Roi se meurt
La condition humaine entre les miroirs symboliques de la féminité et l’autospécularité – Eugène Ionesco, Le Roi se meurt

Summary/Abstract: The human dimension of death, focused on as a radical form of rebellion from the absurd theatre perspective or an acute protest of man subjected to the macrocosmic laws, as both a weapon fighting against destiny and specific type of writing exorcising the anguish of immanent disappearance, turns into a fundamental theme of Eugen Ionescu’s drama. Covertly doubled by the creator-creation theme, the death obsession is the key-word of Ionescu’s writing, being enhanced especially by the texts coined around the character named Bérenger who displays obvious autobiographic features. In The King dies (Regele moare), Bérenger I together with other two important feminine characters – queen Marguerite and queen Marie - travels within the great life-death labyrinth, while the whole world is inexorably slipping down to death. Unable to adapt to death, Bérenger I’s failure actually displays a tragic experience – in its tormenting agony, the frail human nature fights time down by the power of its own thoughts.

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