Stranger Of Camus Essay, Research Paper

In The Stranger, as in all Camus? plants, Camus? positions on freedom and decease

? one dependant on the other? are major subjects. For Camus, freedom arises

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in consciousness of one? s life, the every-moment life, an intense glorious life

that needs no redeeming, no declinations, no cryings. Death is indefensible, absurd ;

it is but a reintegration into the universe for a? free? adult male. Until a individual

ranges this consciousness, life, like decease, is absurd, and so, generically,

life remains absurd, though each person? s life can be valuable and

meaningful to him. In a sense, The Stranger is a parable of Camus? doctrine,

with accent on that which is required for freedom. Meursault, hero of The

Stranger, is non a individual one would be disposed to run into in world in this regard ;

Meursault does non accomplish the waking up of consciousness, so indispensable to

freedom and to populating Camus? doctrine until the really terminal of the book, yet he

has lived his full life in harmonizing with the morality of Camus? doctrine.

His equivalent in the Christian doctrine would be an irreligious individual whose

fatherland has ne’er encountered Christianity who, upon holding it explained by a

missional, realizes he has ne’er sinned. What is the morality, the qualities

necessary for freedom, which Meursault manifested? First, the governing trait of

his character is his passion for the absolute truth. While in Meursault this

takes the signifier of a truth of being and feeling, it is still the truth necessary

to the conquering of the ego or of the universe. This passion is so profound that it

obtains even when denying it might salvage his life. Second, and non unrelated to

the first, is Meursault? s credence of nature as what it is and nil more,

his rejection of the supernatural, including any God. Actually, ? rejection?

of God is non accurate until subsequently when he is challenged to accept the construct ;

Meursault merely has ne’er considered God and faith worthwhile prosecuting. The

natural makes sense ; the supernatural doesn? T. It follows that decease to

Meursault besides is what it is of course ; the terminal of life, surcease, and that is

all. Third, and logically following, Meursault lives wholly in the present.

The yesteryear is past and brooding upon it in any temper is merely a waste of the

present. As to the hereafter, the ultimate hereafter is decease ; to give the

nowadays to the hereafter is tantamount to giving life to decease. Finally and

evidently, since the nowadays is his exclusive surroundings, Meursault takes note of each

minute of life ; since there is no outside value system, no complex hereafter program,

to mensurate against, and as a consequence of his passion for truth and accordingly

justness, he grants every minute equal importance. One minute may be more

enjoyable than another, one drilling, one mundane, each receives? equal

clip? in his narrative of his life. Meursault has one weakness trait, a direct

and logical consequence of his unconsciousness of his ain position of life and doctrine

of life, indifference. Possibly because his manner of life and thinkin

g seem so

natural to him, he has ne’er considered their roots, has ne’er confronted the

absurdness of decease, with the attendant acknowledgment of the value of his life.

Out of indifference he fails to inquiry and thereby mistake out of indifference he

links forces with force and decease, instead than with love and life. As a

consequence of indifference, he kills a adult male. Meursault kills a adult male and is brought to

test. But in truth he is non tried for slaying, nor for his mistake, he is tested

for his virtuousness. Here Camus shows how many work forces fear the absurd, decline? non to

accept it? to face it at all. Alternatively they make via medias with it,

grant it importance and supernatural significance, and live for it. The consequence is

lives built on fake, lip service, paper staging. The natural adult male, the adult male of

truth and world, can merely endanger their authorization, the really delicate web of

their lives, that is, his really being may coerce them to see through

themselves. It is for this that they condemn Meursault to decease. Faced with the

closure by compartment, Meursault is forced to face decease, his ain decease. Through the

horror and despair, he discovers absurdness, the inevitableness and unfairness

of decease, the nonsense of it, the humbleness. All this has been

implicit in Meursault. Now it is witting. Now Meursault is on the brink of

true freedom. The invasion into his cell of the prison chaplain precipitates

Meursault? s accomplishment of entire freedom. By the clip the chaplain enters,

Meursault has confronted decease, and is cognizant of its cosmopolitan inevitableness and

of its nonsense. In the face of the chaplain? s ceaseless effort to

push on Meursault, his God, his guilt, his lip service, Meursault eventually rebellions

? against the chaplain, against lip service, against decease. In an blink of an eye,

? all ideas that had been simmering in my encephalon? explode into

consciousness and Meursault is eventually cognizant. At last to the full witting of

himself, of decease, and of his life, Meursault can mensurate to the full the values

nowadays at every minute of life. Time, ever the present to him, now in

consciousness becomes a marvelous nowadays, rich in beauty, friendly relationship, and love. He

feels the? absurd? and at the same time his artlessness. Knowing now the

indifference of the existence, confronting decease full of love of life, full of the joy

of cognizing that he had been happy and is happy still. Meursault understands that

the closure by compartment provides his ultimate justification ; for in decease entirely adult male

accomplishes his human fate. If we consider The Stranger as a parable, its

lesson is apparent, Clinging passionately to life as the merely positive value

bing in a signifier we can acknowledge. Equally shortly as we rebel and protest against the

absurd, we become in full ownership of the life here and now that is ours, that

is the lone one we have. It is a? Gospel of happiness. ? For the rebellion

against the absurd so cardinal to Camus? constructs of freedom and life is no

hopeless battle, no flailing at windmills. Camus? rebellion seeks no hope, no

wages, but to turn out human luster.

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