Abstract
This study will show the centrality of the theme of affirmation of life in two dramas of Eugene Ionesco, an aspect of his work which has been greatly underestimated by many of his critics. In these two plays it is the symbol of being able to fly which chiefly represents affirmation. This affirmation of life has an implicit theological orientation, even though that orientation belongs not within the framework of traditional Christianity, but rather in the context of “death of God” theology. Ionesco, like the rest of the absurdists, sees a great deal of the world with sad eyes; so much of human experience is negative. But there is also a vitality and an affirmation within the terror which has not been sufficiently brought to light.