His behavior, while not antagonistic or truly antisocial, is distant, yet it does not get in the way of certain relationships. Disoriented and on the edge of heatstroke, Meursault shoots when the Arab flashes his knife at him. Well , more than an incident as it results in Mearseault firing his gun, killing the Arab and being arrested. We see Meursault try to control the emotions of Raymond from doing something he would regret. And yet he is compassionate toward Salamano's loss and willing to listen to his stories of the dog.
Useful Links You Might Also Enjoy. Ray even invites Meursault and Marie to come to his friend's beach house with him. Though The Stranger is often categorized as an existential novel, Camus himself rejected this label. Unlike Kierkegaard, Camus takes a position of strict immanence, rejecting transcendence and the possibility of any divine ordering principle and, rather than take an absurd leap of faith, suggests rebellion is to accept our absurd fate and live in accordance with this knowledge, and without consideration of any external force or meaning. A lifetime is only so long and can end very suddenly.
He will not lie to himself. They all go and enjoy the water, but Raymond is wary of an Arab whose sister Raymond beat up. Once he reaches the street, the sun does not have the normal calming effect on Meursault but instead slaps him on the face. The reader watches a man who seemed truly despicable when first introduced but is now saddened by the loss of a companion whom he loved. A few days later, he kills an Arab man in French , who was involved in a conflict with a friend.
Meursault is embarrassed, feeling he shouldn't have declined. Somers Jr has compared Camus' L'Etranger and 's , in light of Sartre's essay on Camus' novel. Upon leaving, he tells Meursault that he is sorry about Maman and how much she liked the dog. He will later stress to the reader that he is really like everyone else. And with this attitude he ends up dead. Meursault's narrative is documentary, objective, like a black-and-white photograph.
On their return they encounter Salamano, his curmudgeonly old neighbour who has lost his abused and disease-riddled dog, who is maintaining his usual spiteful and uncaring attitude for the dog. The moment of the climax is hyperbolic in nature as Meursault feels that all time has frozen while he and the Arab stare at each other. She is aware of, possibly even fascinated by, his indifference. They hear yelling at his dog and Meursault tells her about the two. That's what I meant, but I'm not sure if I made it any clearer now? The little robot-like woman who sits with Meursault provides an interesting contrast to his own character. Louis Hudon has dismissed characterisation of L'Etranger as an existentialist novel in his 1960 analysis.
The cool air on their naked bodies makes him feel good and this is all Meursault needs to feel happy. Analysis: The week flies by because now that we have seen a typical workday there is no need to show us others in the routine. This death, on some levels, will matter. The authors do this through the two characters, Meursault and Anton. He does not want to say anything to set Raymond off. As in upside down and the place where the world is the acceptance and commitment, to him, is loneliness to the world, the fruit of the absurd. He isn't interested in discussing things that he doesn't care about such as God , so he becomes agitated with people who try to have religious discussions with him.
The paths in front of him are equally open. Raymond Sintès is a neighbour of Meursault who beats his Arab mistress. His general detachment makes living in prison very tolerable, especially after he gets used to the idea of being restricted and unable to have sex with Marie. In the case of The Outsider, Camus believed that authenticity, being an abstract concept that goes beyond the rational, could be best relayed through the medium of literature rather than exposition. This does not stop him from cherishing the smaller, inconsequential and yet the happier things in life. He follows the funeral procession, limping in the broiling sun, sometimes dropping so far behind that he has to take shortcuts to rejoin the procession. Basically, one should remember that Meursault is a man who will not lie about himself, a man who cannot accept the formulas by which his society convinces itself it is happy.
The Stranger, written by Albert Camus is a fictional novel set in Algiers in the early 1940's. As always, this indifference marks Meursault's decisions. Due to Camus' working-class upbringing, he grows up with a suspicion toward idealism and introspection. A new translation of The Outsider by Sandra Smith was published by in 2012. I have to say I always hated The Stranger, and still do, but am continually drawn to it. The reader is further struck by the totality of the theme of Meursault's indifference and apathy during this part in his life when he agrees to marry Marie.
That seems to be the only way how to live a life worth living. When asked if he wants to marry her, he agrees but admits he would have agreed to any number of women. In fact, the day becomes his last as a free man and his first as a murderer. Camus himself has said that Meursault was intended to be a character that was aware of the absurd throughout the novel, and it seems likely that, on some level, this is the case. And because he didn't want to accept what society wants, he became indifferent and passive? Meursault is not rebellious; he has simply discarded burdensome gestures. Or should we recognize his honesty? The implication of the religious nature of the funeral is that the director may have forced his own religious faith on Mme Meursault's funeral.