Religion and existentialism, two sides of two very distinct worlds, different yet both tightly intertwined. Albert Camus illustrates this parallel in his novel “The Stranger” where the narrator, Meursault, the stranger, an indifferent man devoid of any concerns both socially and emotionally is Camus’s vessel of existentialism. Breaking from character, Meursault, ironically attacks the chaplain, another stranger such as himself. Meursault’s final act leads to the solidification of his existentialist behavior through symbolic representation of God, breaking free from society’s force of religion, revolting against any form of hope and accepting the absurdity of life. Throughout “The Stranger”, Camus, provides the reader with distinct symbolic …show more content…
Meursault realizes from attacking the chaplain the implication of what it is to hope, The chaplain solely focuses on the divine not on the here and now and unlike Meursault has no control over his own destiny. Truth does not pertain to the chaplain, Meursault on the other hand the truth is better than a pretty lie; revolt creates values, dignity, and solidarity. Meursault by revolting against the chaplain regains back his sense of self and comes to the point where he can stand and declare “no more, from here and out no more shall I be commanded”. The very fabric of existentialism and the belief of revolt is based on the foundation of self-righteousness, to accept religion would be to escape death. “I told him not to waste his rotten prayers on me; it was better to burn than to disappear” (Camus 74), to “disappear” is to fall into the grasp of no conciseness, the pretty lie of that all religion tells, that there is an afterlife. The ultimate truth and act of revolt is to acknowledge that we must die and there is nothing beyond this life. A human’s soul is not …show more content…
Religion is, however confining as most existentist state, is essential for without religion there is no passion for existentialism. Some would argue if not with religion, where then does wisdom lie? The answer, as Camus states is in “conscious certainty of a death without hope”. Both religion and existentialism are parallel yes, but both serve to amplify the other. Where else would both get incentives to commit more passionately into religion or existentialism? The belief of existentialism stems from the roots of once lush gardens of hope, of the promise of not extinction but an afterlife. “No! No! I refuse to believe it. I’m sure you’ve often wished there was an afterlife.” Of course I had, I told him” (Camus 74), Meursault too has hoped and wished and while most would argue that religion does not kill or harm one’s belief, in the end it’s all it
For five of the passages below, write a 5-8 sentence interpretation (not a summary) of the significance in relation to Camus’s philosophical framework (moralism, the Absurd, existentialism, religion, hope, social judgment, fate).
Albert Camus’ The Stranger explores the philosophic ideology of existentialism in the character Meursault. Meursault is a man in the 1920s in French Algeria going through life seeing and acting through the lens of an existentialist. Without explicitly stating that he lives existentially, his life hits on many key characteristics of an existentialist. Perhaps the most defining of these key characteristics is that he does what he wants, because he can. He also does this because in existentialism there is emphasis on individual choice and freedom based on the assertion that there is no universal right and wrong. Meursault doesn’t always take into consideration what would be polite, or kind, but rather only
The French philosopher Roland Barthes once said, “Literature is the question minus the answer” (Barthes 2). This statement hold true for most works of literature that explore a central question. According to Barthes, literature often raises a question, but leaves it up to the reader to determine the answer. The Stranger by Albert Camus is an excellent example of how a central question, “Is there value and meaning to human life?” is raised and left unanswered, resulting in different interpretations of the answer, depending on the viewpoint of the reader. Although the question is never explicitly answered, Camus offers perspectives on what French society regarded the answers to be, such as connections with others, elusion to freedom, and faith in religion and God.
In one of his later interviews, Camus made the somewhat irritated comment that Meursault is the “only Christ we deserve.” While this seem to be a pithy, witty comment, we need to figure out how Meursault is like Christ. Christ taught his disciples and had them go and teach others, yet Meursault has no disciples and chooses to say little. Meursault murders while Christ brings a man back from the dead. Most drastically, Christ ”died for our sins” in order to make all those who follow free from original sin. Meursault just dies.
In The Stranger by Albert Camus, the main character, Meursault, is an absurdist who lives in the moment and refuses to be distracted by societal norms. He views the world as random and is indifferent to it. But to many French people living in Algeria, religion, social order and character are intertwined and are imperative to human life. Camus uses the crucifix and the courtroom to convey the idea that religion is man’s desperate attempt to create meaning in life where there is none.
In his novel, The Stranger by Albert Camus, translated by Matthew Ward, irony within the protagonist’s ( Meursault ) contrasting perception of the human condition is used to illustrate and invoke the reader to question the contradictory nature of societal expectations. His indifferent and unprecedented reactions to experiences - relative to the characters that Camus laid before him - aid in displaying the absurdity of a world constrained by the chains of conventional wisdom. The contrasting nature of Meursault's demeanor in defying conventional wisdom in experiences such as love and death not only reveals the underlying hypocrisy of the human condition but further illustrates the arbitrary essence of defining a human life.
Albert Camus once said “Forever I shall be a stranger to myself” (Camus, 1942/2004, p 453). In his classic novel, The Stranger, the main character is the archetypal absurd man who lives only in the realm of his own aesthetic until being faced with his own death (Camus, 1942). The themes of absurdity, the Existentialist term for anything that contradicts reason (Wartenberg, 2008), and the greater themes of Existentialism as a whole are apparent in countless other philosophical works. The Stranger’s common thread appears not only in existential philosophy, but can be traced back to classical thought and built upon from there.
In The Stranger, author Albert Camus challenges societal beliefs related to morality and religion. The main character, Meursault, does not experience emotion as the majority of society does. He is seemingly unbothered by his mother’s death, which many around him find disturbing. Meursault is entertained by the simple things in life, and does not appear emotionally attached to much of anything. His apathetic behavior is ultimately his downfall.
Life is often interpreted by many as having meaning or purpose. For people who are like Meursault, the anti-hero protagonist of Albert Camus' The Stranger, written in 1942, the world is completely without either. Camus' story explores the world through the eyes of Meursault, who is quite literally a stranger to society in his indifference to meaning, values, and morals. In this novel, this protagonist lives on through life with this indifference, and is prosecuted and sentenced to die for it. Through Meursault and his ventures in The Stranger, Camus expresses to the reader the idea that the world is fundamentally absurd, but that people will react to absurdity by attaching meaning to it in vain, despite the fact that the world, like
Sartre’s philosophy is that life is always about choices. Existentialism confronts man with these choices. Meursault is given a set of choices throughout the novel.
Through our class discussion on Camus’ The Stranger, my understanding of the culture and absurdist perspective of this book was furthered amplified. During our dialogue we discussed the French existentialist movement occurring in the 1940’s and how this directly influenced both Camus’ The Stranger and his essay on Sisyphus about absurdism. It was important to note the culture and setting in which Camus wrote this novel to further understand the character Meursault’s feelings of physical and emotional detachment to the world and the meaningless of life that this displayed.
In The Stranger, Albert Camus allows the main character to tell the story in order to give the reader an experience of his own. Obviously, with a novel also comes language, which Camus incorporates cleverly as a way to indirectly illustrate Meursault’s thoughts about certain situations. Although the novel represents a postmodern setting, the author shifts the overall meaning. In The Stranger, Camus applies a unique literary style as a power that deflects blame from Meursault, the antiheroic character. In order to disclaim the fault of Meursault, Camus incorporates several instances in which he leaves a greater sense of authority to nonliving objects, while further drawing attention away from the main character. Based on the implication of
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.
Widely recognized for philosophical writings as a French essayist and playwright, Albert Camus is a major contributor to exploring the absurd in modern Western literature. Characterized by highlighting the human condition, Camus’ writing style focuses on the everyday lives and inner psyche of individuals in both ordinary and extraordinary circumstances. Such a character-driven writing style is most notably displayed in his 1946 work, The Stranger, a tale of an emotionally-detached man known as Meursault, who lives in French-colonized Algiers during the intermission of the two World Wars. Consisting of two parts—The Stranger first explores his daily life as a free man, and in the second, delves more into the character’s own philosophy as Meursault contemplates during his remaining time in jail. At its core, the story explores the relationships and interactions of the odd Meursault through the character’s inner monologue and dialogue with those around him. The story itself is very ambiguous in its’ nature, and the idea of contemplating the meaning of life and purpose is prevalent throughout The Stranger. Evidently, Camus writes Meursault as a man who believes that life has no meaning, and therefore people are free to do as they please. To supplement the protagonist’s view, the author also presents Meursault alongside various personalities of key supporting characters, each with their own unique personality, and differing outlooks on life. Doing so thus enables Camus to get readers to contemplate about meaning through multiple perspectives. Stylistically, through many devices that emphasize diction, imagery, and story themes. Ultimately, The Stranger is a way for Camus to convey that there are multiple ways to perceive the meaning of life, using Meursault to directly project a different view than what readers are used to. Surely, with the intent of crafting a protagonist so strange, that Meursault becomes comparable to other characters; less so as a reflection of what the author personally believes the meaning of life is, but more of what such exploration of the idea could be.
In Albert Camus novel, The Stranger (The Outsider), the main character Meursault displays a unique indifference to his surroundings and the world around him. It takes him a degree of time to come to terms with his indifference, but when he does he feels truly free from society's constricting bonds. He leads an apathetic lifestyle that is characterized by his constant lack of a definitive personality. Meursault wanders through life as if in a drunken stupor, living the life of a pleasure seeker. When he accepts his death he is relieved of the pressure of dealing with guilt and with relationships towards other people.