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Morality in literature
Theory of absurdism
Absurdism literary device
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Albert Camus’ The Guest revolves around the notions of moral justification and solitude with the underlying themes of absurdism and nihilism. Camus personifies absurdism through the protagonist, Daru–whether Daru makes the decision to release the prisoner to freedom or delivers the Arab prisoner into prison does not matter, since Daru allows the prisoner to choose, and the prisoner chooses to be imprisoned. There is also a sense of uncertainty of moral justification–how is one justified in one’s choice of action and on what scale is the justification based on, which is essentially the foundation of Daru’s dilemma. With the internal confliction of Daru’s personal beliefs against abiding superior authority, Daru is faced with two moral dilemmas:
The authoritative figure in The Guest is Balducci, where he instructs Daru to deliver the Arab prisoner to prison– something against Daru’s moral beliefs. His rejection of duties is evidently displayed when Daru thinks the prisoner is escaping, and rather emitting a desire to catch the prisoner back, he exhibits a sign of relief, “He is running away...Good riddance” (Camus, 243). Nevertheless, he understands the consequences of evading authority, which could perhaps even result in Daru’s demise. It is this struggle that has left him in a state of bafflement–to risk himself for the sake of others, or to do what authority believes is right. Regardless of Daru’s initial action of rejection to Balducci, where he “insults” (240) him and unwilling accepts his order to deliver the prisoner, the transition to conform to authority never ultimately happens–the realm of absurdism deems any choice mere nothingness, which reflects Camus’ view on choices and the importance of choice, or lack thereof. Nevertheless, Badu strives to do what he deems his right, knowing the consequences involved. Additionally, from the initial encounter with Balducci and the task, never was Daru enthusiastic about his obligatory task–rather, he tried to give freedom to the Arab prisoner to decide his own fate and even displayed hospitality to the prisoner as though he was a guest, “Eat...come...lie down there” (Camus,
Camus philosophy of Existentialism is proven when Daru adds a new dimension to the moral decision believing that by letting the Arab make his own difficulty and agony choice with taking responsibility for our own lives .He has conformed to facing up to the truth about what we
By Existentialist belief life is absurd, in The Guest there are materials of explosive action- a revolver, a murderer, a state of undeclared war, an incipient uprising, a revenge note- but nothing happens which only serves to show life actually is absurd. There’s no question Camus was an Existentialist, and I believe Daru is a representation of Camus. A schoolmaster carrying Camus’ wish to be a teacher, Daru a French-Algerian like Camus and also believing himself more an Algerian than a French, and the story takes place in northern Algeria, Camus’ birthplace.
Allusions to philosophers and other authors pepper “Create Dangerously,” reflecting how the people use the words of those that came before them to make the best of their own reality. The most highlighted philosopher within the paper is Albert Camus, by whom the title “Create Dangerously” was inspired. Not only does Danticat quote and speak of Camus within the essay, but tells of how the people of Haiti would put on his play quietly, quietly in the basements of their homes in secret, finding invigoration in the philosopher’s absurdist and poignant words. " 'Execution relieves and liberates. It is a universal tonic, just in precept as in practice. A man dies because he is guilty. A man is guilty because he is one of Caligula’s subjects. Ergo all men are guilty and shall die. It is only a matter of time and patience' " quotes Danticat in reference to “quietly, quietly.”. By picking this quote, Danticat draws parallels to the death sentences given to the people of Haiti by the dictatorship, including Numa and Drouin, perpetuating the consistency of Danticat’s message. Camus was part of a dialogue that was strikingly similar to that of the people battling the Haitian dictatorship. He himself opposed the Nazi regime by editing an underground newspaper in France (Kellman 2011). Danticat’s affinity for Camus’ work is made more palpable seeing the similarities in what they have faced through their lifetime. Inciting small forms of rebellion is a lifeline for those faced with domination, more specifically an autocracy. The overall theme of the story is the importance of literature, especially in times of oppression and pain, and how it can be used to aid the human
Amid the feverish horror of rampant sickness and death, The Plague is a parable of human remoteness and the struggle to share existence. In studying the relationships which Camus sets forth, the relationship between man and lover, mother and son, healer and diseased, it can be seen that the only relationship Camus describes is that between the exiled, and the kingdom for which he searches with tortured longing.
Of the many themes and philosophies that Camus struggled with during his life and presented to the world through his writings, one of the more prevalent was that of the absurd. According to Camus, the world, human existence, and a God are all absurd phenomenons, devoid of any redeeming meaning or purpose. Through Mersaults’ epiphany in The Stranger, where he opens himself to the “gentle indifference of the world”, we see how Camus understands the world to be a place of nothingness, which demands and desires nothing from humans. He further explores this philosophy in The Plague, where the world of indifference is understood as a world of fear, which takes a symbolically tangible form in the plague itself. In The Plague the citizens of Oran fear that which they cannot control, understand or fight. They are faced with the most fundamental experiences of life and death, and it is only in the end that a very few find a way to cope with and understand these two ultimatums.
Albert Camus’ The Stranger offers one man’s incite into the justice of society. Monsieur Meursault, the main protagonist in the novel, believes that morals and the concept of right and wrong possess no importance. This idea influences him to act distinctively in situations that require emotion and just decision, including feeling sadness over his mother’s death, the abuse of a woman, and his killing of an innocent man. In these situations Meursault apathetically devoids himself of all emotion and abstains from dealing with the reality in front of him. When confronted by the court over his murder, he reiterates his habitual motto on life that nothing matters anyways, so why care? His uncaring response inflames the people working within the
...inal moments. Secondly, by embracing his fate, he gains a sense of compassion from the reader, who, by default, will begin to feel pity for this tortured soul. Morally, it would be impossible to judge this sort of act "evil," but also equally difficult to label it "good." Again, this is Camus' personal philosophy emerging through his literature, almost seeming to beg the audience not to pronounce judgment.
In Albert Camus’ The Stranger, major themes are portrayed through varies symbols. The one that seems to be the most important is the court room, since the court room symbolizes society as a whole. Meursault was on trial facing the magistrate and the jury on what he thought was killing the Arab. What he did not know was that he was going to be judged upon his apathetic nature when his mother died, his carefree actions after her funeral, and his unusual way of
...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.
Daru’s values are in conflict because he is told to complete a task which is not his job, which goes against free-will and his loyalty to the French. He is asked by French policeman, Balducci, to deliver an Arab prisoner to “Tinguit” (Camus, 4), which Daru states, “It’s not my job.” (4) to the officer. However, he still agrees with Balducci that he will deliver the slave because of his loyalty to the French. He accepts Balducci’s order because he was “the old gendarme he had known for a long time.” (3) and to not accept his offer would be an insult to him and the French. Later on he tells the officer that “every bit of this disgusts me” (6) and says “I won’t hand him over.” (7) He does not take the Arab prisoner to the police station because he thinks this is wrong and he believes in freedom of choice, therefore thinking that the prisoner should have a choice. Daru tells the Arab that he has two options and that is whether to go to Tinguit which is a two hour walk where he will “find the police which are expecting him” (13), or take the trail across the plateau. In a day’s walk he will find land where the first nomads will take him in and shelter him.
Camus’s The Stranger takes the reader on an emotionally stunted journey through a number of normally emotional moments in life including funerals, relationships, violence trials, and facing one’s one mortality. None of these things elicit strong emotion from Camus’s protagonist, Meursault, until he explodes in anger at the presumptuous chaplain in the moments before dawn on the day of his execution. In that moment, Meursault embraces the benign indifference of the universe and on the heels of his anger, feels the first real happiness of the story.
Firstly, Camus juxtaposes the stories of Meursault and the Czechoslovakian man to create a presage of the denouement of Meursault. The Czechoslovakian man undergoes major life changes, and this ultimately leads to his demise. He goes to make a better life for himself, and he returns to his village with riches in wealth and in family. Unrecognizable to them, the Czechoslovakian man returns to his mother and sister, and he decides to play a simple joke “of taking a room” and “he had shown off his money” (80). This trick ends when “during the night his mother and sister had beaten him to death…in order to rob him” (80). The Czechoslovakian man’s newfound courage results in obstinacy. Contrastingly, until Meursault commits his crime of murder, his life appears nearly painfully simple. ...
The climax of the novel The Stranger is reached when the jury declares that the main character, Meursault, is to be executed by gulliotine in the town square. The trial and its verdict are one of the important parts of the novel, as Albert Camus uses them as a metaphor to summarize the three main tenets of absurdism. Camus uses the trial and conviction of Meursault to express the absurdist ideals that truth does not exist, and human life is precious.
The Stranger by Albert Camus focuses largely on the concept of absurdism. Camus uses family and personal relationships, or the lack of it thereof, to show the isolation that the main character, Meursault, undergoes in the novel and it’s effect on him overall. Camus utilizes the protagonists’ character development as a tool to further his plot of the novel. The absence of family and personal relationships tied in with the particular recurring topics of the novel are crucial in both the development of the protagonists’ characters as well as the plot as it affects the portrayal of the main character.
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”).