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Analysis of the stranger by albert camus
Postmodernism theories in literature
A critique on the stranger by albert camus
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Personal judgment in Peter Shaffer’s Equus and Albert Camus’ The Stranger, though internal in the first and external in the latter, mirrors society’s judgment of those who differ from the norm. The two postmodernist authors both use judgment as a tool to promote the postmodern idea that society oppresses and criticizes people who are not like everyone else. Camus and Shaffer place specific motifs and elements into their novels in order to push the idea of societal judgment on the reader. However, while the ideas may be the same, Camus and Shaffer use them contrastingly. Shaffer tends to use judgment of the self while Camus leans towards judgment of others, but the judgment ultimately leads back to people who do not conform to the norm.
Camus and Shaffer both implement physical actions and setting to imply judgment of the main characters. The two authors use images of eyes and the action of staring in different ways to cause a feeling of judgment to well up in the reader. In Equus, Equus himself often watches or sees Alan, his actions, and his faults. Alan stabs out the eyes of the horses in the barn because Equus’ gaze and mockery has finally driven him past the point of no return. The use of Equus as a judge of Alan implies internal conflict and criticism. As a part of Alan’s mind, when Equus criticizes Alan it implies his hate of himself. In addition, the physical set up of Equus emulates a jury. The fact that no actors ever leave the stage as well as the play’s watching audience bring to mind the set up of a jury and a guilty party. Similarly, in The Stranger, people often watch Meursault closely. During Meursault’s trial specifically, the woman from the restaurant was “staring at [him]” (Camus 86). Also, the jurors “were a...
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...nge, he follows the example and finds problems with everyone else. Shaffer and Camus both utilize the theme of preemptive guilt and accusation to imply that since the characters have so often been judged by society they expect it now.
Both Equus and The Stranger specifically contain judgment of the characters and consequently all people who do not fit the norm. By utilizing motifs, characterization, and physical actions, Shaffer and Camus take the judgment of their characters and apply it to everyone in society who feels they are outside looking in on all the normal people. Even though they clash with each other in the methods of deploying these techniques, Shaffer and Camus’ texts both bear the same message. These two postmodernist authors use their works as a tool to criticize and condemn society’s way of destroying the abnormal, the passionate, and the crazy.
Through psychological realism in Equus and The Stranger, Peter Shaffer and Albert Camus alienate both characters to show the power of religion through their perceived personal realities.
The Stranger by Albert Camus is a story of a sequence of events in one man's life that cause him to question the nature of the universe and his position in it. The book is written in two parts and each part seems to reflect in large degree the actions occurring in the other. There are curious parallels throughout the two parts that seem to indicate the emotional state of Meursault, the protagonist, and his view of the world.
Although these literary works have a bleak perspective that societal values are insuperable, the characters in “The Garden Party” and “Shooting an Elephant” feel guilty for ignoring their personal moral obligations. In contrast, the main characters in “A Cup of Tea” and “July’s People” remain blissfully unaware of their blatant disregard of an ethical code; they cannot even recognize the immoral nature of their actions as it has become second nature.
In Part One of The Stranger, Albert Camus avoids religious confrontations with Meursault in order to subconsciously place blame on Christ for his criminal actions. Camus restricts Meursault’s relationships to further distance him from his mother. Meursault then alienates himself from the typical spiritual ceremonies and actions to demonstrate his distrust of religion. Simultaneously, Camus uses diction of clear and bright elements to characterize people in the novel, excluding Meursault. Camus associates dark colors with Meursault to depict a sadistic persona. To conclude, Camus places Meursault in recurring situations which result in him being distracted by “the light”. Camus uses these literary techniques in The Stranger to demonstrate man’s condemnation of God.
The emotionless anti-hero, Monsieur Meursault, embarks on a distinct philosophical journey through The Stranger. Confident in his ideas about the world, Meursault is an unemotional protagonist who survives without expectations or even aspirations. Because of his constant indifference and lack of opinions about the world, it can be denoted that he undergoes a psychological detachment from the world and society. It is through these characteristics that exist in Meursault that Camus expresses the absurd. Starting from the very first sentence of the book, “Maman died today. Or maybe yesterday, I don’t know.” (Camus 1) The indifferent tone from these short sentences convey a rather apathetic attitude from Meursault’s part. Not only does he not feel any sorrow, he also “felt like having a smoke.” (Camus 4) Communicating perfectly Meursault’s disinterest, “[he] hesitate, [he] didn’t know if [he] could do it with Maman right there. [He] thought it over; it really didn’t matter.” (Camus 4) The death of his mother prompts an absurdist philosophy in which he experiences a psychological awakening and begins to place no real emphasis on emotions, but rather on the physical aspect of life.
When pondering about what an individual thinks of you, people have varying views. Some people are not concerned; to others it is the most critical matter on their mind. The feeling of being judged is a very potent emotion. Likewise, conformity is one of the largest controversies in today’s society; the behavior of someone in accordance with socially accepted conventions or standards. So if someone personally made his or her expectations on what you should be like evident, would you change? In Matthew Quick’s The Silver Linings Playbook, he illustrates that judgment and expectations conform a person into someone they are not due to their personal identity. This can be seen through a character’s loyalty to another, dominance and the vulnerability it includes, and a character’s love and devotion. Conformity and the reasons for its appearance will be analyzed through samples from Matthew Quick’s bestselling novel.
...able option. Camus’s main character, Meursault, embodies this third option; by accepting his circumstances and being indifferent to them, Meursault is able to break free of all possible causes of anxiety and find happiness. Furthermore, Meursault’s rejection of religion as belief, his acceptance of the “benign indifference of the universe”, and his acceptance of his circumstances all leading to happiness personifies Camus’s take on Absurdism, the philosophy that Camus is trying to depict in The Stranger (76). By using foil characters to contrast Meursault in actions or personality, Camus creates several polarizing situations, making Meursault the extreme epitome of Absurdism in every contrasting relationship and thus, shining light on his ideology in the process.
Often times an author incorporates a thought or philosophy into a work that can shape or reshape the attitude emitted from the novel. In Albert Camus', The Stranger, the Existential philosophy that the author fills into the work give an aura of apathy. With the opening lines of "Mother died today. Or, maybe, yesterday; I can't be sure," Camus immediately sets a tone of indifference (1). Though the protagonist, Mersault, is not completely without cares, the overall attitude of passiveness he has toward himself, as well as toward others, give the entire novel a tone of apathy.
Meursault and Daru are both “strangers” because they are not able to understand the other characters, which are each indirectly associated with an aspect of society. Camus uses the actions and words of seemingly unimportant characters to allude to the shortcomings of society. In both texts the protagonists view the other characters in the story from an outsider view, allowing for a new perspective in which society and its problems can be assessed. By making the protagonists detached from society, the underlying issues within society can be explored from an objective viewpoint.
In The Stranger, Camus portrays women as unnecessary beings created purely to serve materialistically and satisfy males through the lack of a deep, meaningful, relationship between Meursault and females. Throughout the text, the main character, Meursault, creates closer, more meaningful relationships with other minor characters in the story. However, in his interactions with females in this book, Meursault’s thoughts and actions center on himself and his physical desires, observations, and feelings, rather than devoting his attention to the actual female. Living in Algiers in the 1960s, Meursault originates from a post-modernist time of the decline in emotion. Meursault simply defies the social expectations and societal ‘rules’, as post-modernists viewed the world. Rather than living as one gear in the ‘machine’ of society, Meursault defies this unwritten law in the lackluster relationships between he and other females, as well as his seemingly blissful eye to society itself. In The Stranger, males, not females, truly bring out the side of Meursault that has the capacity for compassion and a general, mutual feeling relationship. For example, Marie and Meursault’s relationship only demonstrate Meursault’s lack of an emotional appetite for her. Also, with the death of Maman, Meursault remains virtually unchanged in his thoughts and desires.
In the passage, Camus utilizes negative connotation of Meursault’s growth in self-reflection to demonstrate his recognition of himself. When Meursault claims, “I looked at myself in my tin plate. My reflection seemed to remain serious even though I was trying to smile at it” he attempts to understand and observe himself which shows his growth in self reflection (Camus 81). Contrasting to when he looks into the mirror a few days after his mother funeral, he looks at the furniture in his room instead at himself, “I glanced at the mirror and saw a corner of my table with my alcohol lamp next to some pieces of bread” (24). Before sent to prison, Meursault gave more importance to things physically going around him rather then paying attention to himself. Now, as he looks at himself he saw “the same sad, stern ex...
The trial portrays the absurdist ideal that absolute truth does not exist. This ideal destroys the very purpose of the trial, which seeks to place a rational explanation on Meursault’s senseless killing of the Arab. However, because there is no rational explanation for Meursault’s murder, the defense and prosecution merely end up constructing their own explanations. They each declare their statements to be the truth, but are all based on false assumptions. The prosecution itself is viewed as absurd. The prosecutor tries to persuade the jury that Meursault has no feelings or morals by asking Perez if “he had at least seen [Meursault] cry” (91). The prosecutor then continues to turn the crowd against Meursault when he asks him about his “liaison” with Marie right after his mother’s death. Though Meursault’s relationship with Marie and his lack of emotions at his mother’s funeral may seem unrelated to his murder, the prosecutor still manages to convince the crowd that they are connected to one another. The jury ends up convicting Meursault not because he killed a man, but because he didn't show the proper emotions after his mother ...
The authors' relations to us on the characters' places in society help us to relate to and comprehend their actions. If Meursault hadn't been so detached from society, Noboru so discontented with society, and Medea so vengeful toward society, we wouldn't have half of the justification needed to understand the murders that took place in the works. Given the presented material about conformity, I conclude that the stories' plots indeed grow around the unique attributes of the non-conformers, and as result, spark the reader's imagination to the fullest.
In 1962, writer Mark Esslin took pleasure in composing the novel Theatre of the Absurd and quickly became a major influence on the works of many inspired writers. Esslin subsequently made ensuing plays and stories which focused on nonspecific existentialist concepts and which did not remain consistent with his ideas, rejecting the “narrative continuity and the rigidity of logic.” As a result, the protagonist of these stories is often not capable of containing himself within his or her disorderly society (“Theatre”). Writer Albert Camus made such an interpretation of the “Absurd” by altering the idea into his view of believing it is the rudimentary absence of “reasonableness” and consistency in the human personality. Not only does Camus attempt to display the absurd through studied deformities and established arrangements; he also “undermines the ordinary expectations of continuity and rationality” (“The Theatre”). Camus envisions life in his works, The Stranger and “The Myth of Sisyphus,” as having no time frame or significance, and the toiling endeavor to find such significance where it does not exist is what Camus believes to be the absurd (“Albert”).
Within the Stranger, Albert Camus brought up many questions and a few answers. He created an outsider to society and showed us how he lived, Meursault.