The article analyzes the play "Always Say Yes to Him" by Italian playwright Eduardo, highlighting the theme of madness which is presented without any form of conceptualism. Eduardo employs this madness as a theatrical device to enhance comedic timing and includes elements of farce. The character Michele, who has spent a year in a mental institution, represents this concept of madness, as his sister had constantly shielded him from society's judgment by offering excuses for his absences.

Upon returning to society, Michele aims for pure logic and rationality, stripped of any philosophical overtones or abstract meanings. He adheres to a literal interpretation of language, where love simply means love, and death means death, devoid of double meanings or complexities. His perspective contrasts sharply with that of Luigi, the other character in the play, hinting at a deeper commentary on the nature of reality versus illusion, and how societal norms shape our understanding of sanity.

The article outlines the broader implications of Eduardo's work as a reformative attempt on traditional theater, aligning himself with the dramatic style of Pirandello while also acknowledging the influence of Scarpettian traditions. Through the lens of Michele's madness, the play invites audiences to reflect on the absurdities of social expectations and the struggles of individuals attempting to navigate a world filled with hypocrisy and untruths.