RhinocerosRhinoceros* Many of these notes on * Many of these notes on

the play have been the play have been adapted from adapted from SPARKSPARK

NOTESNOTES onlineonline

RhinocerosRhinoceros

Act IAct I

Philosophy in Act IPhilosophy in Act I

Jean’s reference to himself as the "superior man" Jean’s reference to himself as the "superior man" borrows from borrows from Friedrich Nietzsche’sFriedrich Nietzsche’s vision of a vision of a "super-man" (in "super-man" (in Beyond Good & EvilBeyond Good & Evil) who is ) who is beyond conventional human morality. This super-beyond conventional human morality. This super-man, Nietzsche believed, would lead the world. man, Nietzsche believed, would lead the world. Adolf Hitler exploited and abused Nietzsche’s Adolf Hitler exploited and abused Nietzsche’s ideas, which he largely took from Nietzsche’s ideas, which he largely took from Nietzsche’s sister Elisabeth’s posthumous collections of his sister Elisabeth’s posthumous collections of his "works" consisting of discarded notes, such as "works" consisting of discarded notes, such as The Will to Power The Will to Power (1901), to convince Germans (1901), to convince Germans that the Aryans were a master race whose that the Aryans were a master race whose destiny was to control the world. destiny was to control the world.

Philosophy in Act IPhilosophy in Act I

Ionesco attempts to explain how millions were Ionesco attempts to explain how millions were swayed by fascism in his dissection of a collective swayed by fascism in his dissection of a collective consciousness (later referred to in the play as consciousness (later referred to in the play as "collective psychosis")"collective psychosis")

He posits the existence of a universal mentality He posits the existence of a universal mentality that that compromisescompromises the individual mind. the individual mind.

The Absurdity of LogicThe Absurdity of Logic

The Logician is parodied for his comic missteps in The Logician is parodied for his comic missteps in proving even a simple syllogism; when the Old proving even a simple syllogism; when the Old Gentleman asks if, according to the syllogism, his Gentleman asks if, according to the syllogism, his dog must be a cat, the Logician replies: dog must be a cat, the Logician replies: "Logically, yes. But the contrary is also true." "Logically, yes. But the contrary is also true."

Ionesco further demonstrates the inapplicability Ionesco further demonstrates the inapplicability of logic to human emotion as he cross-cuts of logic to human emotion as he cross-cuts dialogue between the Logician’s proof and dialogue between the Logician’s proof and Bérenger’s fumbling attempts to provide some Bérenger’s fumbling attempts to provide some coherent reason for his unhappiness.coherent reason for his unhappiness.

Several key lines assail the inconsistency of logic, Several key lines assail the inconsistency of logic, its very foundation parodied as the Logician’s its very foundation parodied as the Logician’s efforts do nothing to clarify the absurd world.efforts do nothing to clarify the absurd world.

More Philosophy in Act IMore Philosophy in Act I

Bérenger: "Life is a dream"Bérenger: "Life is a dream" If life is an absurd undertaking that follows the If life is an absurd undertaking that follows the

fractured logic of a dream, one can lead an fractured logic of a dream, one can lead an unconscious existence with no responsibility (for unconscious existence with no responsibility (for one has no conscious control over a dream).one has no conscious control over a dream).

Bérenger: "I sometimes wonder if I exist myself"Bérenger: "I sometimes wonder if I exist myself" This statement contradicts the well-known This statement contradicts the well-known

philosophical premise of 17th-century philosopher philosophical premise of 17th-century philosopher Rene DescartesRene Descartes: "I think, therefore I am." For : "I think, therefore I am." For Descartes, the ability to think is the only proof of Descartes, the ability to think is the only proof of existence. For Berenger, thought not only fails to existence. For Berenger, thought not only fails to certify existence, it even casts doubt upon certify existence, it even casts doubt upon existence.existence.

ExistentialismExistentialism

Bérenger’s doubt about existence Bérenger’s doubt about existence articulates the foundation of articulates the foundation of existentialist philosophy, the formula existentialist philosophy, the formula "existence precedes essence." This "existence precedes essence." This important dictum of important dictum of SSøren øren Kierkegaard’sKierkegaard’s states that humans are states that humans are born ("existence") before they gain born ("existence") before they gain any soul or meaning in life any soul or meaning in life ("essence"). ("essence").

An Existentialist Everyman An Existentialist Everyman hero?hero?

As Bérenger (and Ionesco) sees it, neither As Bérenger (and Ionesco) sees it, neither physical nor even mental existence is physical nor even mental existence is enough to count for true existence.enough to count for true existence.

Although he does not yet know it, Bérenger Although he does not yet know it, Bérenger needs a wilful life of responsibility needs a wilful life of responsibility committed to something significant (this committed to something significant (this will become apparent later in the play). will become apparent later in the play). Bérenger’s ’character arc’ thus becomes Bérenger’s ’character arc’ thus becomes an ironic parallel to the metamorphosis of an ironic parallel to the metamorphosis of every other character into a rhinoceros…every other character into a rhinoceros…

More Absurdity of LogicMore Absurdity of Logic

Bérenger unleashes a key word to trigger his fight Bérenger unleashes a key word to trigger his fight with Jean: "nonsense." The world does not merely with Jean: "nonsense." The world does not merely lack sense; it is nonsensical, illogical in every way. lack sense; it is nonsensical, illogical in every way. Yet, as the Logician’s ridiculous inversions show Yet, as the Logician’s ridiculous inversions show (especially in his use of (especially in his use of reductio ad absurdumreductio ad absurdum, or , or pushing logic to absurd or contradictory limits), pushing logic to absurd or contradictory limits), total illogic does not provide meaning either, as total illogic does not provide meaning either, as some readers might assume existentialist authors some readers might assume existentialist authors propose. Rather, Ionesco shows that even the most propose. Rather, Ionesco shows that even the most conventional use of logic can be flawed. Instead of conventional use of logic can be flawed. Instead of trying to figure out what has caused (and what can trying to figure out what has caused (and what can remedy) the presence of the rhinos, the supposedly remedy) the presence of the rhinos, the supposedly logical citizens are more concerned with how many logical citizens are more concerned with how many horns the rhinos have.horns the rhinos have.

Even More PhilosophyEven More Philosophy The escalation of violence and its relationship to fascismThe escalation of violence and its relationship to fascism

Early in Act 1, the Logician and Jean bump into each other and Early in Act 1, the Logician and Jean bump into each other and both men say: "No harm done." Later, a cat is trampled. Ionesco both men say: "No harm done." Later, a cat is trampled. Ionesco subtly examines subtly examines John Stuart Mill’sJohn Stuart Mill’s proposition of the "harm proposition of the "harm principle" (a variation on his ethic of utilitarianism) from principle" (a variation on his ethic of utilitarianism) from On On LibertyLiberty: individual freedom should be preserved at all costs : individual freedom should be preserved at all costs unless it harms someone else. unless it harms someone else.

While the first rhino caused no harm to anyone else (mirrored in While the first rhino caused no harm to anyone else (mirrored in Jean’s and the Logician’s polite dialogue), the second one does. Jean’s and the Logician’s polite dialogue), the second one does. Ionesco suggests that any mentality, fascism included, should be Ionesco suggests that any mentality, fascism included, should be permitted so long as it does not violate the harm principle (the permitted so long as it does not violate the harm principle (the first rhino), but such mentalities inevitably first rhino), but such mentalities inevitably dodo harm others (the harm others (the second rhino). second rhino).

In parallel, the housewife’s concern for her cat when she drops In parallel, the housewife’s concern for her cat when she drops her groceries not only echoes the absurdly polite etiquette of the her groceries not only echoes the absurdly polite etiquette of the opening scene, but itself represents a conventionalised ethics opening scene, but itself represents a conventionalised ethics which will be literally trampled like the cat later on in the play.which will be literally trampled like the cat later on in the play.

Act I stagecraft Act I stagecraft

Off-stage introduction of the first rhinoOff-stage introduction of the first rhino Slow amplification of noises off piques audience Slow amplification of noises off piques audience

interest & keeps its existence (or stage existence) interest & keeps its existence (or stage existence) in doubtin doubt

Dialogue devices:Dialogue devices: Choral effects – idea of a collective consciousness Choral effects – idea of a collective consciousness

introduced through characters delivering lines in introduced through characters delivering lines in unison ("Oh, a rhinoceros!" or "Well, of all things!")unison ("Oh, a rhinoceros!" or "Well, of all things!")

Parallel dialogue – the exchanges between Jean / Parallel dialogue – the exchanges between Jean / Bérenger and the Logician / the Old Gentleman use Bérenger and the Logician / the Old Gentleman use identical language to discuss similar ideas, identical language to discuss similar ideas, parodying the power of logic to explain reality, life parodying the power of logic to explain reality, life & emotions& emotions

Act I stagecraft Act I stagecraft Foreshadowing, Irony and Character Foils – Foreshadowing, Irony and Character Foils –

the conflict of wills between B the conflict of wills between Béérenger & Jeanrenger & Jean Jean points out Bérenger Jean points out Bérenger doesdoes care about at least care about at least

one thing: Daisy; his love of her foreshadowing one thing: Daisy; his love of her foreshadowing BBéérenger’s decision to save humanity at the end of renger’s decision to save humanity at the end of the playthe play

Jean’s slur about Bérenger’s willingness to Jean’s slur about Bérenger’s willingness to surrender is a tremendous irony, since by the end surrender is a tremendous irony, since by the end of the play it is Jean who has given-in to the rhinosof the play it is Jean who has given-in to the rhinos

BBéérenger remaining a passive individual for now, renger remaining a passive individual for now, eschewing his prior cultural development plan in eschewing his prior cultural development plan in favour of another escapist drink, underlines by favour of another escapist drink, underlines by contrast with Jean his ’character arc’ of heroic contrast with Jean his ’character arc’ of heroic transformation.transformation.

Act I stagecraft Act I stagecraft

Absurdist comedyAbsurdist comedyexamines profound ideas in a comic lightexamines profound ideas in a comic light

e.g.:e.g.:the Logician’s proof examines the limits of logic the Logician’s proof examines the limits of logic

and its inversions while pleasing the audience and its inversions while pleasing the audience with its low comedy of misunderstandingwith its low comedy of misunderstanding

a suggestion by Jean to Ba suggestion by Jean to Béérenger for his cultural renger for his cultural exercises (a satire of Nietzschean self-exercises (a satire of Nietzschean self-improvement) is to see one of Ionesco’s plays.improvement) is to see one of Ionesco’s plays.

Act I stagecraft Act I stagecraft Breaking the ’Fourth Wall’ Breaking the ’Fourth Wall’

addressing the audience directly forces its members to addressing the audience directly forces its members to recognize the production before them as a play. Unlike recognize the production before them as a play. Unlike Bérenger’s recourse to alcohol, Ionesco does not allow Bérenger’s recourse to alcohol, Ionesco does not allow his audience to forget itself in the play. his audience to forget itself in the play.

A new dramatic technique of post-war theatre was for A new dramatic technique of post-war theatre was for the actor to be aware of himself as an actor, to draw the actor to be aware of himself as an actor, to draw attention to the artifice of the play. This self-attention to the artifice of the play. This self-consciousness was introduced by German playwright consciousness was introduced by German playwright Bertolt BrechtBertolt Brecht with his with his VerfremdungseffektVerfremdungseffekt or or defamiliarisation. It had the political purpose of defamiliarisation. It had the political purpose of ’alienating’ audiences to distance them emotionally from ’alienating’ audiences to distance them emotionally from problems that demanded intellectual solutionsproblems that demanded intellectual solutions. . Extended Extended to entire productions the style became known as to entire productions the style became known as Brechtian theatre.Brechtian theatre.

Act I stagecraft Act I stagecraft Breaking the ’Fourth Wall’ of the ImaginationBreaking the ’Fourth Wall’ of the Imagination

In In Rhinoceros,Rhinoceros, Ionesco clearly discards conventional reality, Ionesco clearly discards conventional reality, both in the absurdist subject matter and in the stagecraft both in the absurdist subject matter and in the stagecraft that relies on imagination. The rhinos never appear on that relies on imagination. The rhinos never appear on stage in full form, and when they do show up, it is as back-stage in full form, and when they do show up, it is as back-lit projections of rhino-heads. These non-realistic touches lit projections of rhino-heads. These non-realistic touches force the audience to recognize the play as a performed force the audience to recognize the play as a performed piece, but not as an escapist spectacle that shuts out the piece, but not as an escapist spectacle that shuts out the external world. external world.

In the same vein, Ionesco’s self-referential joke helps the In the same vein, Ionesco’s self-referential joke helps the audience affirm its commitment to the play’s ideas after audience affirm its commitment to the play’s ideas after they leave the theatre. The collapse of the fourth wall (not they leave the theatre. The collapse of the fourth wall (not to mention the fact that numerous stage walls actually fall to mention the fact that numerous stage walls actually fall in the play) implies that there should be no "before" or in the play) implies that there should be no "before" or "after" the play, but that the play is as much a part of their "after" the play, but that the play is as much a part of their "real lives" as their post-theatre dinner will be."real lives" as their post-theatre dinner will be.

RhinocerosRhinoceros

Act IIAct II

"I don’t like Mondays…""I don’t like Mondays…" Act II begins with a first impression of chronological Act II begins with a first impression of chronological

realism – after a strange Sunday afternoon of realism – after a strange Sunday afternoon of stampeding rhinos we find ourselves in a workaday stampeding rhinos we find ourselves in a workaday world. However, despite moving from a surreally world. However, despite moving from a surreally dazzling noontime town square to an interior, dazzling noontime town square to an interior, uncanny echoes abound. The set is crowded with uncanny echoes abound. The set is crowded with furniture, signs and objects, with actors making a furniture, signs and objects, with actors making a frozen ’tableau vivant’ like marionettes who frozen ’tableau vivant’ like marionettes who suddenly leap magically into life. suddenly leap magically into life.

The space itself is a weird reversal of Act I’s town The space itself is a weird reversal of Act I’s town square – the centre of action moving upstairs, while square – the centre of action moving upstairs, while 11stst floor window interruptions of the grocer’s wife floor window interruptions of the grocer’s wife become down stair disruptions and entrances. This become down stair disruptions and entrances. This upstairs relocation of the play’s action is one of upstairs relocation of the play’s action is one of many physical signs of the town’s retreat from many physical signs of the town’s retreat from humanity.humanity.

"I don’t like Mondays…""I don’t like Mondays…" Ionesco condemns the workplace with its Ionesco condemns the workplace with its

insignificant busywork and gossip, bringing insignificant busywork and gossip, bringing Bérenger’s previous comments in Act I about his Bérenger’s previous comments in Act I about his dreary office life to fruition in this scene. dreary office life to fruition in this scene. Bérenger and Dudard have a petty rivalry for Daisy’s Bérenger and Dudard have a petty rivalry for Daisy’s

affections affections Botard and Dudard compete for Papillon’s good gracesBotard and Dudard compete for Papillon’s good graces Papillon’s view of Boeuf’s metamorphosis as a mere labour Papillon’s view of Boeuf’s metamorphosis as a mere labour

shortage is part of Ionesco’s denunciation of privileging shortage is part of Ionesco’s denunciation of privileging work over people. Ironically, "papillon" means "butterfly" in work over people. Ironically, "papillon" means "butterfly" in French, contrasting sharply with his indelicate nature (more French, contrasting sharply with his indelicate nature (more on names later). on names later).

The alienating influences of the workplace help The alienating influences of the workplace help explain why Bérenger shows up late, and why his explain why Bérenger shows up late, and why his stale bourgeois existence is wracked with ennui – an stale bourgeois existence is wracked with ennui – an emotion of extreme boredom or world-weariness.emotion of extreme boredom or world-weariness.

"I don’t like Mondays…""I don’t like Mondays…" RhinocerosRhinoceros is generally viewed as an indictment of man’s is generally viewed as an indictment of man’s

intrinsic savagery, his latent capacity for evil. Ionesco intrinsic savagery, his latent capacity for evil. Ionesco highlights this here by actually humanizing the highlights this here by actually humanizing the metamorphosis of Mr. Boeuf. His is the first transformation metamorphosis of Mr. Boeuf. His is the first transformation that is not anonymous and shows the rhino’s (Mr. Boeuf’s) that is not anonymous and shows the rhino’s (Mr. Boeuf’s) "tender" trumpeting to his wife. "tender" trumpeting to his wife.

"Boeuf" means "beef" in French, and Daisy calls the "Boeuf" means "beef" in French, and Daisy calls the rhinoceros an "ugly animal", but it is made to seem here as rhinoceros an "ugly animal", but it is made to seem here as though transforming into a rhino though transforming into a rhino enhancesenhances his humanity, in his humanity, in contrast to the more savage personalities of the men who contrast to the more savage personalities of the men who crassly dispense pragmatic advice to the shocked Mrs. crassly dispense pragmatic advice to the shocked Mrs. Boeuf ("you’d be perfectly justified [in divorcing him]"); or Boeuf ("you’d be perfectly justified [in divorcing him]"); or to Botard, who jealously (and bizarrely) tries to assign to Botard, who jealously (and bizarrely) tries to assign responsibility for the rhino’s existence to Dudard.responsibility for the rhino’s existence to Dudard.

"A rose by any other name…""A rose by any other name…" Even more than Papillon, the names of Botard and Dudard Even more than Papillon, the names of Botard and Dudard

have a range of allusions that contribute to Act II’s mockery have a range of allusions that contribute to Act II’s mockery of the bourgeois workplace: of the bourgeois workplace: together they sound like a pair of nursery rhyme characters together they sound like a pair of nursery rhyme characters

(Tweedledum / Tweedledee; Bill & Ben); (Tweedledum / Tweedledee; Bill & Ben); separately, ’Dudard’ sounds like ’dada’ (the French equivalent of separately, ’Dudard’ sounds like ’dada’ (the French equivalent of

’gee-gee’ – juvenile for horse – and Dada, the famous post-WW1 ’gee-gee’ – juvenile for horse – and Dada, the famous post-WW1 proto-absurdist art movement) and ’Botard’ is like ’botte’ (French proto-absurdist art movement) and ’Botard’ is like ’botte’ (French for boot), appropriate for his putting-the-boot-in (or foot-in-for boot), appropriate for his putting-the-boot-in (or foot-in-mouth) style of argumentmouth) style of argument

More darkly, ’dard’ = dart or sting; ’batarde’ = bastardMore darkly, ’dard’ = dart or sting; ’batarde’ = bastard

Daisy’s name highlights her stereotypical role of unmarried Daisy’s name highlights her stereotypical role of unmarried office girl and potential love-interest ("a young blonde", office girl and potential love-interest ("a young blonde", according to the sexist stage direction), even more so as the according to the sexist stage direction), even more so as the English version of Marguerite – the French name for the same English version of Marguerite – the French name for the same flower, but less child-like and quaint in its sound than ’daisy’ flower, but less child-like and quaint in its sound than ’daisy’ would be to a French ear.would be to a French ear.

"After you, after you""After you, after you" Botard hints at one of the play’s major themes when he labels Botard hints at one of the play’s major themes when he labels

the appearance of rhinos as a "collective psychosis". His the appearance of rhinos as a "collective psychosis". His hyperbolic accusation of a conspiracy is not to be dismissed: hyperbolic accusation of a conspiracy is not to be dismissed: those who join the herd now are considered traitors, while those who join the herd now are considered traitors, while later those who don’t are the renegades. As Ionesco gauges it later those who don’t are the renegades. As Ionesco gauges it in the play, morality shifts to accommodate any political in the play, morality shifts to accommodate any political movement; the majority of progress is always the good side, movement; the majority of progress is always the good side, and the minority of resistance is always the bad side.and the minority of resistance is always the bad side.

At this point in the play, those who turn into rhinos are At this point in the play, those who turn into rhinos are resisting humanity and are therefore, in Botard’s eyes, bad. resisting humanity and are therefore, in Botard’s eyes, bad. Yet Ionesco foreshadows Botard’s future hypocritical Yet Ionesco foreshadows Botard’s future hypocritical transformation. Like Jean, Botard rationalizes his inconsistent transformation. Like Jean, Botard rationalizes his inconsistent behaviour after the fact when he first denies the rhinos and behaviour after the fact when he first denies the rhinos and then denies his previous denial.then denies his previous denial.

"It’s all a lot of made-up "It’s all a lot of made-up nonsense"nonsense"

Botard’s opening line – where the stage directions indicate Botard’s opening line – where the stage directions indicate that he "starts the attack" which brings the still-life frieze that he "starts the attack" which brings the still-life frieze into action – echoes Bérenger’s use of "nonsense" which into action – echoes Bérenger’s use of "nonsense" which triggered his Act I conflict with Jean. But the tension triggered his Act I conflict with Jean. But the tension absurdly dissipates into another parody of logical absurdly dissipates into another parody of logical argument, climaxing instead with another rhinoceros argument, climaxing instead with another rhinoceros charge (which should scuttle Botard’s doubting charge (which should scuttle Botard’s doubting philosopher’s act but ironically fails to do so)philosopher’s act but ironically fails to do so)

Ionesco still refrains from showing the rhinoceros in Scene 1 Ionesco still refrains from showing the rhinoceros in Scene 1 of Act II, drumming up excitement for a possible glimpse of Act II, drumming up excitement for a possible glimpse (and curiosity as to how the production will present the (and curiosity as to how the production will present the creatures on-stage). Other effects abound, however, as creatures on-stage). Other effects abound, however, as they did in the previous act, including the collapse of the they did in the previous act, including the collapse of the staircase. As plays from the often-static Theatre of the staircase. As plays from the often-static Theatre of the Absurd go (see Beckett’s Absurd go (see Beckett’s Waiting for GodotWaiting for Godot), ), RhinocerosRhinoceros exhibits a wealth of action and dynamic stagecraft.exhibits a wealth of action and dynamic stagecraft.

"It’s all a lot of made-up "It’s all a lot of made-up nonsense"nonsense"

Instead of parallel dialogue, a hallmark of the previous act, Instead of parallel dialogue, a hallmark of the previous act, Ionesco deploys coincidence in scene 2 as Jean and the old Ionesco deploys coincidence in scene 2 as Jean and the old man share the same first name (not "Old Man," but "Jean"). man share the same first name (not "Old Man," but "Jean"). This coincidence is further evidence of collective This coincidence is further evidence of collective consciousness in that both men can be called Jean, and consciousness in that both men can be called Jean, and neither man distinguishes or affirms his human identity before neither man distinguishes or affirms his human identity before turning into a rhino. turning into a rhino.

The coincidence of names also attests to the increasing oddity The coincidence of names also attests to the increasing oddity of logic in the play. Bérenger tries to make sense of the rhinos: of logic in the play. Bérenger tries to make sense of the rhinos: he decides that it doesn’t matter where the rhinos come from, he decides that it doesn’t matter where the rhinos come from, but the "important thing, as I see it, is the fact that they’re but the "important thing, as I see it, is the fact that they’re there at all, because…" He doesn’t finish the sentence, which there at all, because…" He doesn’t finish the sentence, which speaks volumes: the rhinoceroses are there both because speaks volumes: the rhinoceroses are there both because there there isn’tisn’t a rational explanation a rational explanation absurd and apathetic humans don’t take responsibility for making absurd and apathetic humans don’t take responsibility for making

a life meaningful – or finishing a sentence, for that matter.a life meaningful – or finishing a sentence, for that matter.

"It’s all a lot of made-up "It’s all a lot of made-up nonsense"nonsense"

The most prominent feature of scene 2 is Jean’s The most prominent feature of scene 2 is Jean’s gradual transformation into a rhinoceros. Ionesco gradual transformation into a rhinoceros. Ionesco manages to make it plausible by having Jean manages to make it plausible by having Jean disappear for moments into the bathroom, where disappear for moments into the bathroom, where he can alter his visage and body off-stage. His he can alter his visage and body off-stage. His green pyjamas serve a double use as a prop, green pyjamas serve a double use as a prop, foreshadowing his change in pigmentation and foreshadowing his change in pigmentation and becoming a human nuisance to the emerging becoming a human nuisance to the emerging rhino. rhino.

But the simplest of effects, and most powerful, is But the simplest of effects, and most powerful, is Jean’s changing voice. The unique inflection of Jean’s changing voice. The unique inflection of the individual voice is essential to humanity, and the individual voice is essential to humanity, and the subsequent loss of language seems nearly the subsequent loss of language seems nearly secondary to the ability to sound like a human.secondary to the ability to sound like a human.

"I sometimes wonder if you’re "I sometimes wonder if you’re capable of noticing anything"capable of noticing anything"

Jean’s strength of will comes under fire in scene 2, Jean’s strength of will comes under fire in scene 2, but he tries to appropriate his own meaning of will, but he tries to appropriate his own meaning of will, one that constantly shifts. He claims that he never one that constantly shifts. He claims that he never dreams, a sharp contrast to Bérenger in Act I, who dreams, a sharp contrast to Bérenger in Act I, who wondered if life is all a dream. Jean believes he is wondered if life is all a dream. Jean believes he is "master" of his own thoughts, but his mastery of "master" of his own thoughts, but his mastery of his own body is in doubt. Just as he rationalized his own body is in doubt. Just as he rationalized hypocritical behaviour in Act I, Jean again makes hypocritical behaviour in Act I, Jean again makes excuses for his transformation to reclaim a sense excuses for his transformation to reclaim a sense of free will: he claims he simply "felt like" making a of free will: he claims he simply "felt like" making a growling sound and that it indicates nothing. For growling sound and that it indicates nothing. For him, will becomes a mark purely of physical power, him, will becomes a mark purely of physical power, not individual freedom. His call for a reduction of not individual freedom. His call for a reduction of morality to the savage laws of nature works off of morality to the savage laws of nature works off of his prior belief in a Nietzschean super-man who his prior belief in a Nietzschean super-man who can circumvent morality.can circumvent morality.

"I sometimes wonder if you’re "I sometimes wonder if you’re capable of noticing anything"capable of noticing anything"

Jean’s transformation is more plausible than we Jean’s transformation is more plausible than we might think: from the start, Jean’s interest in might think: from the start, Jean’s interest in making himself more cultured only seemed like a making himself more cultured only seemed like a means to increase his power and respect, and not means to increase his power and respect, and not as an exploration of his humanity. as an exploration of his humanity.

On the other hand, Bérenger foreshadows his On the other hand, Bérenger foreshadows his future status as the truer ’super-man’ attempting future status as the truer ’super-man’ attempting to save the world to save the world withwith morality. He makes a wilful morality. He makes a wilful decision to try and save Jean, though he flees at decision to try and save Jean, though he flees at the end of the scene, maintaining the play’s the end of the scene, maintaining the play’s suspense over the inevitable question: will suspense over the inevitable question: will Bérenger commit to something significant and Bérenger commit to something significant and remain human, or will he evade responsibility and remain human, or will he evade responsibility and become a rhinoceros?become a rhinoceros?

"I sometimes wonder if you’re "I sometimes wonder if you’re capable of noticing anything"capable of noticing anything"

Jean hints at the fascist underpinnings of the Jean hints at the fascist underpinnings of the metamorphoses, alluding to Mr. Boeuf’s Jekyll and Hyde-like metamorphoses, alluding to Mr. Boeuf’s Jekyll and Hyde-like "secret" life. Ionesco implies that savagery lurks under "secret" life. Ionesco implies that savagery lurks under bourgeois propriety. It is Jean, who held up fascist ideals of bourgeois propriety. It is Jean, who held up fascist ideals of human perfection and efficiency as a human, who turns into human perfection and efficiency as a human, who turns into a far more savage rhino than Boeuf was. He even tries to a far more savage rhino than Boeuf was. He even tries to convince Bérenger that Bérenger’s voice is actually convince Bérenger that Bérenger’s voice is actually changing, exhibiting paranoia as Botard did in the previous changing, exhibiting paranoia as Botard did in the previous scene when he charged conspiracy. scene when he charged conspiracy.

Bérenger says that the traditional view of the rhino as a Bérenger says that the traditional view of the rhino as a solitary animal is outdated, suggesting a possible reason for solitary animal is outdated, suggesting a possible reason for Ionesco’s choice of the rhino as his symbol of a fascist Ionesco’s choice of the rhino as his symbol of a fascist beast: humans, with their fear of individualistic thought, beast: humans, with their fear of individualistic thought, turn the otherwise solitary rhinos into faceless hordes. turn the otherwise solitary rhinos into faceless hordes. Bérenger continues Ionesco’s defence of the fascists’ right Bérenger continues Ionesco’s defence of the fascists’ right to live so long as they do not harm anyone. However, Jean’s to live so long as they do not harm anyone. However, Jean’s horn does pierce Bérenger, showing fascism’s inevitable horn does pierce Bérenger, showing fascism’s inevitable turn to violence.turn to violence.

RhinocerosRhinoceros

Act IIIAct III

The meta[The meta[mormor]phor[]phor[sissis] of ] of disease disease

Act Three introduces the metamorphosis as a Act Three introduces the metamorphosis as a "disease", and "rhinoceritis" becomes a central "disease", and "rhinoceritis" becomes a central metaphor for fascism as a contagious, half-rational, metaphor for fascism as a contagious, half-rational, half-absurd infection of mind and morality. Ionesco half-absurd infection of mind and morality. Ionesco provides possible, even humane reasons for why provides possible, even humane reasons for why rhinoceritis spreads so rapidly, refusing to settle on rhinoceritis spreads so rapidly, refusing to settle on the generally acknowledged claim of human the generally acknowledged claim of human savagery. savagery.

Bérenger posits that those who have changed are Bérenger posits that those who have changed are "temporarily unbalanced". This intimates that fascist "temporarily unbalanced". This intimates that fascist appeal is linked less to permanent and corrupt appeal is linked less to permanent and corrupt human nature but more to a society out of joint. human nature but more to a society out of joint. Likewise, many historians account for the rise of Likewise, many historians account for the rise of Nazism by pointing to the shattered world of a post-Nazism by pointing to the shattered world of a post-World War I Germany that was willing to submit to a World War I Germany that was willing to submit to a strong leader who promised a return to glory.strong leader who promised a return to glory.

Dudard the Existentialist Dudard the Existentialist Dudard’s accusation, that by turning to suicide Bérenger is trying Dudard’s accusation, that by turning to suicide Bérenger is trying

to rationalize his cowardice, affirms the existential view that to rationalize his cowardice, affirms the existential view that confrontation with death is a constant, lifelong struggle, not a confrontation with death is a constant, lifelong struggle, not a temporary one like the momentary act of suicide.temporary one like the momentary act of suicide.

Unlike the metamorphosis of Jean’s will-to-power into the most Unlike the metamorphosis of Jean’s will-to-power into the most spectacular case of "rhinoceritis" so far (becoming a rhino before spectacular case of "rhinoceritis" so far (becoming a rhino before our eyes), Bérenger’s strength of will vacillates, symbolised by his our eyes), Bérenger’s strength of will vacillates, symbolised by his struggle with alcohol. Claiming his decision to drink is a struggle with alcohol. Claiming his decision to drink is a premeditated one, he exposes a complex, circular dilemma: premeditated one, he exposes a complex, circular dilemma: is the conscious decision to remove rational decision-making abilities is the conscious decision to remove rational decision-making abilities

(here, to choose consciously to escape into unconsciousness through (here, to choose consciously to escape into unconsciousness through drinking) a conscious choice after all? drinking) a conscious choice after all?

Or is suicide a cowardly act that removes true commitment and Or is suicide a cowardly act that removes true commitment and recognition of absurdity, avoids the nobler confrontation of death while recognition of absurdity, avoids the nobler confrontation of death while still alive? still alive?

Extended to the extreme, this sentiment asks whether suicide is a Extended to the extreme, this sentiment asks whether suicide is a viable form of confronting death. This was the ultimate viable form of confronting death. This was the ultimate preoccupation of existentialist philosophers, especially preoccupation of existentialist philosophers, especially Martin Martin HeideggerHeidegger and and Jean-Paul SartreJean-Paul Sartre. .

Or Bérenger the Existentialist? Or Bérenger the Existentialist? Unlike Jean, who says he never dreams, Bérenger Unlike Jean, who says he never dreams, Bérenger

concedes the occasional loss of control over concedes the occasional loss of control over thought in his dreams — yet he has a greater ability thought in his dreams — yet he has a greater ability to exercise mental control while awake, as his to exercise mental control while awake, as his staunch refusals to metamorphose indicate. staunch refusals to metamorphose indicate.

His dream life versus his conscious life fits the His dream life versus his conscious life fits the existentialist formula "existence precedes essence" existentialist formula "existence precedes essence" —— he is an irrational, absurd, irresponsible being in his sleep he is an irrational, absurd, irresponsible being in his sleep

(where he has only "existence"), (where he has only "existence"), but he controls his destiny in consciousness (where his but he controls his destiny in consciousness (where his

"essence" emerges). "essence" emerges).

His Act One statement that life is a dream helps to His Act One statement that life is a dream helps to explain the surrounding metamorphoses: everyone explain the surrounding metamorphoses: everyone else is living out an unconscious dream-life, an else is living out an unconscious dream-life, an existence without essence.existence without essence.

Bérenger the anti-Existentialist Bérenger the anti-Existentialist Nevertheless, Bérenger’s drinking in this scene Nevertheless, Bérenger’s drinking in this scene

corresponds to hearing the rhinos outside and corresponds to hearing the rhinos outside and acquiescing to the herd instinct, his own status as a acquiescing to the herd instinct, his own status as a victim of collective consciousness seeming to be an victim of collective consciousness seeming to be an indirect cause. indirect cause.

His creeping tendency towards a mass, rather than His creeping tendency towards a mass, rather than an individual, consciousness is exposed when he an individual, consciousness is exposed when he and Dudard, while speaking through the closed and Dudard, while speaking through the closed door, parrot the dialogue from Bérenger’s similar door, parrot the dialogue from Bérenger’s similar visit to Jean. While Bérenger does not speak in visit to Jean. While Bérenger does not speak in simultaneous dialogue, as characters in Act One simultaneous dialogue, as characters in Act One often did, his paralleled dialogue is simply a often did, his paralleled dialogue is simply a delayed form of collective consciousness.delayed form of collective consciousness.

In Bérenger’s behaviour, existentialist "essence" In Bérenger’s behaviour, existentialist "essence" turns back on itself into mere "existence".turns back on itself into mere "existence".

Rational absurdity Rational absurdity in extremisin extremis Bérenger’s and Dudard’s debates in this scene Bérenger’s and Dudard’s debates in this scene

come under a different kind of pressure than Act come under a different kind of pressure than Act Two’s sociology of the work-place or Jean’s wilful Two’s sociology of the work-place or Jean’s wilful transformation. From paralleling past dialogue, transformation. From paralleling past dialogue, the two men go on to see-saw in their positions:the two men go on to see-saw in their positions: Bérenger explains that when one is not in the midst of Bérenger explains that when one is not in the midst of

conflict, it is easy to be a detached observerconflict, it is easy to be a detached observer Dudard, the most productive, dutiful worker, ironically Dudard, the most productive, dutiful worker, ironically

tries to assuage Bérenger’s own sense of duty and guilt tries to assuage Bérenger’s own sense of duty and guilt for the rhinosfor the rhinos

Bérenger’s apathy towards life Bérenger’s apathy towards life hashas contributed to the contributed to the overall lack of will that makes the epidemic possibleoverall lack of will that makes the epidemic possible

Yet Bérenger’s original indifference, that grew out of his Yet Bérenger’s original indifference, that grew out of his awareness of the absurd universe, galvanizes his own awareness of the absurd universe, galvanizes his own metamorphosis into a being committed to free willmetamorphosis into a being committed to free will

Rational absurdity Rational absurdity in extremisin extremis Dudard’s assertion that Bérenger lacks the "vocation" to Dudard’s assertion that Bérenger lacks the "vocation" to

become a rhino is a pun on Bérenger’s lack of will, which will become a rhino is a pun on Bérenger’s lack of will, which will prevent him from attaining the powerful status of the rhino, prevent him from attaining the powerful status of the rhino, and a petty insult that criticizes Berenger’s apathy towards and a petty insult that criticizes Berenger’s apathy towards his job (and boosts Dudard’s ego as a reminder of his his job (and boosts Dudard’s ego as a reminder of his superior position in the office)superior position in the office)

Bérenger’s indifference to his job is probably the greatest Bérenger’s indifference to his job is probably the greatest immunization against the metamorphosis, as he recognizes immunization against the metamorphosis, as he recognizes the absurdity of his boring, insignificant job in an absurd, the absurdity of his boring, insignificant job in an absurd, often insignificant worldoften insignificant world

Dudard observes that "the absurd" is a grey area: he speaks Dudard observes that "the absurd" is a grey area: he speaks of the impossibility of distinguishing between the normal of the impossibility of distinguishing between the normal and abnormal, but he denies philosophy’s ability to answer and abnormal, but he denies philosophy’s ability to answer this. this.

Bérenger agrees philosophy is of little help in resolution, but Bérenger agrees philosophy is of little help in resolution, but he believes that common sense can explain these issues. he believes that common sense can explain these issues.

Absurdity 1 – Existentialism 0Absurdity 1 – Existentialism 0Underlying reasons reveal true character…Underlying reasons reveal true character…

Dudard’s belief in the superiority of the scientific and the Dudard’s belief in the superiority of the scientific and the theoretical over "mass opinion" is an ironic return to his theoretical over "mass opinion" is an ironic return to his regular detachment and a surrender to forces beyond his regular detachment and a surrender to forces beyond his control. Taking the existentialist viewpoint, he believes the control. Taking the existentialist viewpoint, he believes the mystery of the rhinos is insoluble. In his refusal to mystery of the rhinos is insoluble. In his refusal to trytry and and think about it in a constructive way he foreshadows his think about it in a constructive way he foreshadows his eventual surrender to the mass opinion (by metamorphosis) eventual surrender to the mass opinion (by metamorphosis) that he denigrates. that he denigrates.

Bérenger’s view attempts to reaffirm human will and the Bérenger’s view attempts to reaffirm human will and the ability to make meaning in an absurd universe, but both ability to make meaning in an absurd universe, but both men ignore common sense in everyday life, neither making men ignore common sense in everyday life, neither making the obvious conclusion as to why the workmen disappear the obvious conclusion as to why the workmen disappear after a few days. after a few days.

Ionesco’s attack on the Ionesco’s attack on the bourgeoisiebourgeoisie

Bérenger is flabbergasted at Papillon’s Bérenger is flabbergasted at Papillon’s metamorphoses only because Bérenger notes that metamorphoses only because Bérenger notes that Papillon had such a good job to live for. This shock Papillon had such a good job to live for. This shock exposes another contradiction in Bérenger’s exposes another contradiction in Bérenger’s character, pointing to capitalism’s power to character, pointing to capitalism’s power to brainwash even the most sceptical and brainwash even the most sceptical and disenchanted member of the workplace.disenchanted member of the workplace.

The stagecraft amplifies Ionesco’s attitude with a The stagecraft amplifies Ionesco’s attitude with a physical similarity between Bérenger’s and Jean’s physical similarity between Bérenger’s and Jean’s rooms implying that bourgeois life is homogenous, rooms implying that bourgeois life is homogenous, and that collective consciousness is a predictable and that collective consciousness is a predictable result. Both men evidently live alone, and both result. Both men evidently live alone, and both rooms seem little more than prisons, suitable for rooms seem little more than prisons, suitable for housing their occupants in between work-shifts.housing their occupants in between work-shifts.

Retreat from HumanityRetreat from Humanity Bérenger’s and Daisy’s dual desires to fight the Bérenger’s and Daisy’s dual desires to fight the

rhinos and to surrender vacillate wildly in the rhinos and to surrender vacillate wildly in the action-packed section that begins Act Three’s action-packed section that begins Act Three’s second half – amplifying in an absurd parallel the second half – amplifying in an absurd parallel the prior alternating currents of Bérenger’s & Dudard’s prior alternating currents of Bérenger’s & Dudard’s rationalisations.rationalisations.

Inactive at the start, Bérenger fails to hear Daisy’s Inactive at the start, Bérenger fails to hear Daisy’s knock at the door. This is the third delay in knock at the door. This is the third delay in opening the door for someone else in the play opening the door for someone else in the play (Jean for Bérenger in scene two of Act Two; (Jean for Bérenger in scene two of Act Two; Berenger for Dudard in the first part of Act Three), Berenger for Dudard in the first part of Act Three), and each occasion seems to indicate a physical and each occasion seems to indicate a physical disconnection from humanity, which the occupant disconnection from humanity, which the occupant of the house is in no hurry to remedy.of the house is in no hurry to remedy.

Retreat from HumanityRetreat from Humanity While resistant at first to Daisy’s and Dudard’s While resistant at first to Daisy’s and Dudard’s

idea of acclimatizing himself to the rhinos and not idea of acclimatizing himself to the rhinos and not worrying over it, Bérenger later lets Daisy coax worrying over it, Bérenger later lets Daisy coax him into believing that he should lead a guiltless him into believing that he should lead a guiltless lifelife

Bérenger goes a step further in blaming guilt (and Bérenger goes a step further in blaming guilt (and other emotions that show a lack of "purity", as other emotions that show a lack of "purity", as Daisy says) as a cause of the metamorphoses. Daisy says) as a cause of the metamorphoses.

Daisy’s reversals turn to an even more staccato Daisy’s reversals turn to an even more staccato rhythm; she alternates her devotion to Berenger rhythm; she alternates her devotion to Berenger and to the rhinos so quickly, the effect would be and to the rhinos so quickly, the effect would be comic were the outcome not so grave.comic were the outcome not so grave.

Guilt, Love, & Other Absurdist Guilt, Love, & Other Absurdist EmotionsEmotions

Daisy’s and Bérenger’s ideas of guilt and love clash in profound ways:Daisy’s and Bérenger’s ideas of guilt and love clash in profound ways: The "happy" guiltless life Daisy seeks detaches itself from humanity. The "happy" guiltless life Daisy seeks detaches itself from humanity.

The love she expresses for Bérenger, then, is simply a love for The love she expresses for Bérenger, then, is simply a love for another individual, not for all humanity; as Bérenger expresses it, another individual, not for all humanity; as Bérenger expresses it, "Happiness is such an egotistical thing!""Happiness is such an egotistical thing!"

Bérenger is at first manipulated by Daisy into accepting this guiltless Bérenger is at first manipulated by Daisy into accepting this guiltless life. He greedily misinterprets her distinction between her life. He greedily misinterprets her distinction between her interference in Dudard’s life and his own, not comprehending interference in Dudard’s life and his own, not comprehending Daisy’s belief that love allows you to act on behalf of someone else.Daisy’s belief that love allows you to act on behalf of someone else.

However, Bérenger renews his guilt, later choosing to absorb the However, Bérenger renews his guilt, later choosing to absorb the guilt for Daisy’s own departure, even though she probably would guilt for Daisy’s own departure, even though she probably would have done it anyway. That he still feels concerned for someone who have done it anyway. That he still feels concerned for someone who just abandoned him in the worst way shows that Bérenger holds just abandoned him in the worst way shows that Bérenger holds unconditional love not only for Daisy, but also for humanity. unconditional love not only for Daisy, but also for humanity.

Ionesco implies through his parody of a new Adam & Eve that the Ionesco implies through his parody of a new Adam & Eve that the conventional romance of private love for one human is not enough conventional romance of private love for one human is not enough for a life of significance: one must love and be willing to take for a life of significance: one must love and be willing to take responsibility for all humanity, leaving Bérenger to interfere on responsibility for all humanity, leaving Bérenger to interfere on behalf of the world.behalf of the world.

Dedicated Followers of FascismDedicated Followers of FascismThe metaphor of fascism grows more overt towards The metaphor of fascism grows more overt towards

the end:the end: The firemen have turned into an organized militia, The firemen have turned into an organized militia,

showing that authority is just as susceptible to showing that authority is just as susceptible to corruption as anyone else.corruption as anyone else.

Papillon’s earlier transformation and the Papillon’s earlier transformation and the metamorphoses of the aristocracy and media ram metamorphoses of the aristocracy and media ram the point home.the point home.

Dudard’s desire to belong to the "universal family" Dudard’s desire to belong to the "universal family" of rhinos suggests an underlying genetic component of rhinos suggests an underlying genetic component to the transformations, a movement to Aryan-style to the transformations, a movement to Aryan-style racial cleansing (as well as calling attention to the racial cleansing (as well as calling attention to the scarcity of family in scarcity of family in RhinocerosRhinoceros; none of the major ; none of the major characters seeming to have any relatives characters seeming to have any relatives whatsoever).whatsoever).

The Hidden Violence of The Hidden Violence of Compliance Compliance

The rhinos not only become more beautiful to Daisy, but to The rhinos not only become more beautiful to Daisy, but to the audience as well. Their trumpeting is melodic to our the audience as well. Their trumpeting is melodic to our ears, too, and we can understand why she would be ears, too, and we can understand why she would be seduced by them, especially when compared to the seduced by them, especially when compared to the pictures of ugly humans alongside.pictures of ugly humans alongside.

Yet Bérenger’s observation about the indirect nature of Yet Bérenger’s observation about the indirect nature of harm is Ionesco’s final critique of harm is Ionesco’s final critique of John Stuart Mill’sJohn Stuart Mill’s harm harm principle: "Sometimes one does harm without meaning to, principle: "Sometimes one does harm without meaning to, or rather one allows it to go unchecked." or rather one allows it to go unchecked."

Seemingly innocuous action can, in fact, be violent. Worse Seemingly innocuous action can, in fact, be violent. Worse yet, remaining passive, without commitment or choices, yet, remaining passive, without commitment or choices, can cause harm and makes the passive individual as can cause harm and makes the passive individual as culpable as the violent one. In the proverbial expression, culpable as the violent one. In the proverbial expression, evil prospers when good men do nothing.evil prospers when good men do nothing.

Why are you wearing that Why are you wearing that stupid man suit? stupid man suit?

The play ends with repetitions on the theme that the universe The play ends with repetitions on the theme that the universe is absurd, and that logic cannot explain everything:is absurd, and that logic cannot explain everything: Daisy makes the comment that one can predict things only after Daisy makes the comment that one can predict things only after

they have happened, but this is not even true. they have happened, but this is not even true.

Bérenger unsuccessfully attempts to justify Botard’s absurd Bérenger unsuccessfully attempts to justify Botard’s absurd transformation:transformation:

that it was a disguise, which copies Jean’s earlier statement about Mr. that it was a disguise, which copies Jean’s earlier statement about Mr. Boeuf,Boeuf,

and that it was a foreseeable collapse of Botard’s false stubbornness, and that it was a foreseeable collapse of Botard’s false stubbornness, which echoes Dudard’s earlier words. which echoes Dudard’s earlier words.

Both are, in fact, completely wrong: the true “disguise” is the Both are, in fact, completely wrong: the true “disguise” is the human skin the savage characters were wearing all along, and human skin the savage characters were wearing all along, and Botard’s stubbornness was not at all a pose. Botard may have Botard’s stubbornness was not at all a pose. Botard may have held out initially because he was obstinate, but once he was held out initially because he was obstinate, but once he was presented with proof of the rhinos in Act Two, his stubbornness presented with proof of the rhinos in Act Two, his stubbornness did not relent, but switched sides to account for the rhinos. One did not relent, but switched sides to account for the rhinos. One can reasonably imagine that later on, when he realized he was can reasonably imagine that later on, when he realized he was one of the few humans left, Botard would have stubbornly one of the few humans left, Botard would have stubbornly insisted that being a rhino is right.insisted that being a rhino is right.

• In Western theatre, where we read from L to R, In Western theatre, where we read from L to R, the LH side of the stage from the audience’s view the LH side of the stage from the audience’s view (Stage Right for the onstage actor) is the most (Stage Right for the onstage actor) is the most ’powerful’ space.’powerful’ space.

UPSTAGEUPSTAGE

DOWN STAGEDOWN STAGE

OPPOSITE OPPOSITE PROMPTPROMPT

(O.P.)(O.P.)PROMPTPROMPT

(P.)(P.)

’’POWER’ LINESPOWER’ LINES