He does not dwell on other things, such as knowledge or intelligence. The idea of the divine, a supreme being, call it Jesus Christ, Allah or Buddha really find roots in common ground.
True revolt, then, is performed not just for the self but also in solidarity with and out of compassion for others.
It appears that Meursault has the complication of also being asocial. And with what feelings could he accept this honor at a time when other writers in Europe, among them the very greatest, are condemned to silence, and even at a time when the country of his birth is going through unending misery?
Meursault refuses to pretend he has been born again, since being emotionally honest rises above self-preservation, thus Mersault accepts the idea of punishment as a consequence of his actions. To all who argue that murder must be punished in kind, Camus replies: Every person, and assuredly every artist, wants to be recognized.
Finding it so much like myself — so like a brother, really — I felt that I had been happy and that I was happy again. In Caligula the mad title character, in a fit of horror and revulsion at the meaninglessness of life, would rather die—and bring the world down with him—than accept a cosmos that is indifferent to human fate or that will not submit to his individual will.
Condemnation of capital punishment is both explicit and implicit in his writings. The Myth of Sisyphus and other Essays.
It is most likely that his indifference allows him to care less about whether life has meaning. However, one troublesome fact remains: That helped me in later life, especially in mainland France, where nobody plays straight.
Princeton University Press, In all cases, Meursault does not look forward. Although he does go through the motions of these relationships, there was never an instant that the reader could feel an actual connection between the characters.
His trial and the execution news do not seem to bother him. He is also both a novelist of ideas and a psychological novelist, and in this respect, he certainly compares most closely to Dostoyevsky and Sartre, two other writers who combine a unique and distinctly philosophical outlook, acute psychological insight, and a dramatic style of presentation.
More technically and less metaphorically, it is a spirit of opposition against any perceived unfairness, oppression, or indignity in the human condition.
Meursault is so indifferent that he does not recognize his emotions until he is about to die. In a way he is kind of pragmatic. In any case The Stranger discounts both the value of any deeds and the hope of internal happiness based on a belief of deity.
He favors a life of impulse and daring as it was honored and practiced in both Romantic literature and in the streets of Belcourt.
Instead, he felt that he could finally look back on his life and know—really know—that he lived. But with it, it all comes clear.
What might be termed Romantic values also merit particular esteem within his philosophy: Simply defined, it is the Sisyphean spirit of defiance in the face of the Absurd. Meursault is distant from set plans, ambitions, desires, love, and emotions in general. Existentialism Camus is often classified as an existentialist writer, and it is easy to see why.
Society has developed a set of norms with a silent edict that these must be adhered to. This display of inhuman indifference, they argued, was just as criminal as showing no remorse for the murder of the Arab.
Hence, according to the rules of society, he must be executed. After the Liberation, Camus continued as editor of Combat, oversaw the production and publication of two plays, The Misunderstanding and Caligula, and assumed a leading role in Parisian intellectual society in the company of Sartre and Simone de Beauvoir among others.
Meursault is not interested in playing the game. Camus made no effort to conceal the fact that his novel was partly based on and could be interpreted as an allegory or parable of the rise of Nazism and the nightmare of the Occupation. To hide behind self-preservation would reverse this meaning, thus making it obsolete.
This lack of emotion highlights the existentialist ideal that we all die, so it doesn't matter what life we have while we are alive.Albert Camus was a French existentialist philosopher of the 20th century who was highly intelligent and wrote some fantastic books in his time.
The Myth of Sisyphus is obviously a classic in philosophical literature and in my opinion this work is one of the most thought provoking books in recent fmgm2018.coms: In Albert Camus' novel, The Stranger, Meursault represents an existentialist character.
Most may believe him to be immoral, and in some cases they are almost correct.
Contrary to that belief, just because Meursault is an emotionless silhouette of a man doesn't mean he is immoral or evil. To sum up, Albert Camus’ first novel The Stranger is devoted to the themes of social alienation, racism and sexism.
“Camus tells the story of a man who, without any heroic pretensions, agrees to die for the truth” (Lazere, 68).
” The novel “The Stranger” was written during the Existentialist movement, and that’s why the leading character in the novel, Meursault, has a neutral and emotionless character because objectivity is the main aspect of existentialism.
albert camus and existentialism: Existentialism is the individual freedom of choice; in other words man is a conscious subject, rather than a thing. Of the many existentialistic themes, Camus strongly believed in.
the character Meursault from Albert Camus’s The Stranger is the modern form of Greek mythology’s Sisyphus. Albert Camus is a French-Algerian writer who is famous for his existentialism.Download