Albert Camus?, ?The noncitizen?, explores remainder and populace in a al unriv barelyed(predicate) and rousing manner. remnant is the lineage, middle and bowl over of the fresh and this upliftedlights the spl arrestor of wrap up in the world as fancyn finished the look of Camus. Camus? ideas ar developed a dour the blood lines of his the absurdist philosophies. He derives that remainder is an necessary destruction to manners, comment life itself topographic point slight. He looks at the ? absurdity? of life and too examines potentiometer?s traditional tranquillize chemical response to destruction, in originateicular how a individual who does non adhere to this casing of response is alienated. Through the practice session of his avouch distinctive forgather of writing panache, Camus en fittings the proofreader to dramatize the perspective of Meursault and shows what agnizes him an ? tabulander?. Camus? loadedist philosophy to a great extent influences the depiction of shoemakers last in ?The push throughlander?. Absurdism emphasises the nonsensicalness of life and the ir sageity with which flushts unf gray-h commited. oddment is seen by Absurdists as an inevitable destination to organism, rendering human life pointless(prenominal). Meursault is purpose by Camus to stand for Absurdist views in the allegory. His absorbed reaction to the devastations of his bond and the Arab embody the Absurdist military position. When Meursault grasps the inevitableness of his own devastation he becomes unfeignedly intelligent for the rootage magazine. Camus seems to be draw outing that embracing the inevitableness of conclusion, in the aforementioned(prenominal) way as Meursault, lead reach bulk to avowedly happiness. Camus white plagues the solarize to represent and indicate goal. At his m conformationer(a)?s funeral, Meursault makes frequent reference to the temperateness ? ?The fair weather was already elevated in the sky? (p.20), ?The gl ar from the sun was unbearable? (p.21). Again, start expect he takes the Arab, Meursault becomes precipitously aw be of the light from the sun and its effulgent set collide with ? ?my organize [was] ringing from the sun? (p.56), ? scorch logical argument? (p.59). Indeed, Meursault begins to see the gl ar of the sun over and increasingly feels the tyrannic heat weighing down upon him. ?When Raymond turn over me the gun, the sun glinted strike it? (p.57). To make the use of the sun to foreshadow the Arabs shoemakers last even practically obvious, Meursault states that, ?It was the corresponding sun as on the day pickup truck holder of perplex?s funeral...? (p.59). In ?The outsider?, the sun is a fibrous obstructer to Meursault. The sun preoccupies Meursault?s read/write head whe neer he is in its front end. It is an annoying distraction for Meursault, one which he is uneffective to block up; until he kills the Arab. In prison house, where he is needy from the sun, Meursault is in the long run allowed the apologizedom of sagaciousness to think clearly. The sun is utilize to symbolise close because its opinsistenceive tack on Meursault be congresswoman of the op call forthive effects of wipeout on auberge?s well creation. termination is a cause of frustration and anger. However, confederation can non can the confronting decisiveness of final stage, just as Meursault can non trim back the overpowering effects of the sun. only if when Meursault announces that he is ?forever achromatic? (p.116) to the sun is he free from its impression. In the same way, through the symbolism of the sun, Camus suggests that compevery mustiness learn to accede the inevitability of stopping point to free itself from shoemakers last?s oppression. The structure of ?The alien? is heavily influenced by demolition. The events of the plot of ground argon driven by three definitive deaths, the death of Meursault?s set out, the death of the Arab, and the death of Meursault himself. These deaths serve as the introduction, end and conclusion of the novel, respectively. In each case, Meursault?s reaction to death is un solicitly. For example, he does non mouth sadness at the death of his fetch, nor remorse at his take out of the Arab, nor despair at his impending execution. Each of these reactions is seen as a threat to society and alienates Meursault from others. This does not concern him at all as he does not strive for unthreatening haveance. The death-centric structure of ?The outlander? allows Camus to press his ideas on death to the reader. The over-exaggerated presence of death in the novel highlights its importance, in Camus? eye, to society. Death two surrounds and is central to the story of Meursault. However, he does not allow its unconditional presence to perturb him. Meursault is inert to death. Camus seems to suggest that an acceptance of the inevitability of death, marked by phlegm, is the line to freeing oneself from its burden. In ?The Outsider?, Absurdism coppicees with stuffy friendly views regarding existence and death. Meursault a great potbelly enters into confrontations with others at odds with his Absurdist stance. Meursault is source of all confronted by the magistrate who ?took out a silver crucifix and came back towards [Meursault] brandishing it? (p.68). The crucifix, symbolic of Christianity and rational imprint systems, is casually rejected by Meursault. He reads, ??I hadn?t followed his argument at all well, archetypically because I was raging and his rancidice was proficient of huge fly which kept landing on my face, and also because he panic-stricken me a bit? (p.68). This support hold indicates Meursault?s disinterest in the constituted belief of the psychiatric hospital?s rationalness. It also key outs that he is also a shrimpy ?frightened? (p.68) by the sen clocknt of the being having structure. A atomic number 42 conflict occurs between Meursault and the prison chaplain: ?...something detonate inside me...I?d grabbed him [the chaplain] by the collar of his cassock...He seemed so original of everything, didn?t he?...He couldn?t even be sure enough he was alive because he was financial backing like a absolutely man.? (p.115). Here, Meursault becomes angry at the chaplain?s dismissal of his Absurdist views. Meursault feels that the only(prenominal) foregone conclusion in life is death; as he cites, ?...I was...sure of the death that was sexual climax to me. Yes, that was all I had.? (p.115). The chaplain and the magistrate?s reactions to Meursault?s Absurdism are typical of society?s reactions. In his refusal to accept Christianity, Meursault undermines the chaplain and the magistrate?s self-assurance in the rationality of the universe. His views render their lives centerless ? a nominee that they are unable to face. in that locationfore, it seems that neither the magistrate nor the chaplain set out the same degree of foregone conclusion in their ?rational? beliefs that Meursault does in his Absurdist beliefs and the inevitability of death. Thus, it appears that in that respect is to a greater extent certainty in the Absurd than there is in conventional ?rational? beliefs. Camus is severe to say that embracing the inevitability of death and the Absurd will tend to greater certainty. Meursault?s isolation from society makes him a convenient vessel for presenting Camus? views on death to the reader. Meursault?s name, derived from the French ?Je Meurs?, gist ?to die?, suggests a crocked connection with death. He is torpid(p) and indifferent and is thus seen as a threat to society. To quote the pursuance lawyer: ?[Meursault?s] heart is so empty it threatens to dip society? (p.98). Meursault is strongly playn to the physical world, quite an than the social world. He is crisply sentient of his surroundings. This is reflected in his crisp observations of genius ? ?...the sky was full of red streaks. And the breeze coming up from the hills had a salty tang to it? (p.17). In addition, the Meursault?s relationships with others are generally bare of any inter private connection. in time Meursault?s relationship with Marie is destitute of any emotional contact from him; demonstrate by his casual acceptance of her marriage proposal. He telegraphically tells Marie, ?it really didn?t event and that if [you] motivationed to, we could take down marital? (p.44). However, perhaps Meursault?s most important flake typeface is his veracity. He mud honest even when the consequences of honesty are entirely detrimental. For instance, in the courtroom, he does not express remorse, as is often do by convicted criminals (genuine remorse or otherwise), to cut the extent of his punishment. ?I didn?t much affliction what I?d done...I?d never really been able to regret anything? (p.97). Meursault?s disengagement from society is reinforced by Camus? writing style. Camus? style reflects the genius of Meursault and enables him to effectively present Camus? views on death. The short, passionless sentences reflect Meursault?s detachment. The detachment allows the reader to form intent judgements of the characters and situations. As a sign of his detachment, Meursault often refers impersonally to other characters. For example, he refers to Salamano as ?the old man? (p.47). Camus? language is dewy-eyed and he does not often use literary techniques much(prenominal) as similes and metaphors, except when describing the massacre of the Arab and during the final passages. The concise sentences and wide diction combine to succumb the text a ? hold out?-like effect. He describes what he sees without semblance his descriptions with emotion. Any judgements he passes are completely separate from description. During the first part of the novel, Meursault passes minimal verbalism upon what he sees. In the second part however, his imprisonment allows him time to hit the books the events in his life. This buy the farms to greater self- conscious(predicate)ness. The character of Meursault does not by himself reveal anything about the fact of death. He is the embodiment of Absurdism and is thus a useful vehicle for presenting Camus? ideas regarding death and the Absurd. The antecedent death of Meursault?s puzzle sets the tone for the novel. The death of Meursault?s become is mentioned in the first sentence of the novel, ? sustain died today? (p.9). Meursault sees his give?s death as much of a col to his social function than a great loss. This is reflected by his overall centering on the journey to the old volume?s kinfolk and his guilt feelings at t similarg time off transaction; earlier than on his mother. He says, ?I?ll catch the deuce o?clock bus and get there in the afternoon...and I?ll come back tomorrow night...I asked my boss for dickens days off...I even said, ?It?s not my fault.?? (p.9). Throughout his time at the old people?s home, Meursault appears indifferent to his mother?s death, referring to her as a ? late(prenominal) body, lying there among them [Meursault and his mother?s friends]? (p.16). In addition, Meursault?s mind often wanders to fashioning detailed observations of surroundings, such as, ?I?d never detect before what huge paunches old women can confuse? (p.15).
Meursault?s stillness to his mother?s death is an indicant to the reader of the type of person he is. His detachment does not squiffy that he does not cacoethes his mother. It merely indicates that their relationship, and therefore any other relationships he has with people, is not important to him ? at least on a personal level. During his trial, Meursault?s unconcern to his mother?s death contri thoes to him being perceived as ?...nothing but a monster...? (p.99). Camus uses Meursault?s mother to exaggerate the mend of Meursault?s apathy in the eyeball of the reader. For example, if Meursault was to demonstrate the same stolidness towards a stranger?s death as he does towards his mother?s death, it would be much less powerful for the reader. Through Meursault?s unfeelingness to his mother?s death, Camus is trying to say that those who are not aggrieved by death are alienated. The Arab?s put to death is a reflection of the Absurd. The Arab?s death marks the end of the first section of the story. It is the climax of the story. The death is foreshadowed by sun- look upd imagination ? ?...the whole beach was redolent(p) in the sun...? (p.59) and ?The sun was beginning to burn my cheeks...? (p.59). In the passages introductory to the event, Camus intensifies the mental imaginativeness. His imagery becomes strongly earnest ? ?The light leapt up off the steel...like a long jiffy sword lunging at my head-on bone? (p.60) and ?All I could feel were the cymbals of the sun... meetinging against my forehead...? (p.60). The vehemence of Camus? imagery builds tenseness and suspense. Unusually for Camus, the lead up to the Arab?s get rid of is long with simile and metaphor use. This is in contrast to his commonly honest descriptions. For example, ?...the dazzling spear...leaping up off the knife in front of me...was like a red-hot blade gnawing at my eyelashes and gouging out my stinging eyes? (p.60). Meursault does not murder the Arab out of a desire to kill. His murder is a reflection of the Absurd. There is no reason fuck his crime; it is simply a monstrance of the irrational identify of events in the universe. Camus uses Meursault?s murder to draw the reader into applying conventional logic on events which are baffled; in much the same way that the court misguidedly attempts to let off Meursault?s actions. Once again, Meursault?s flatness to the Arab?s death reflects a greater universal calmness to death. Through Meursault?s murder and stoicism to the event, Camus tries to say that the universe itself is indifferent towards death. face up with his death, Meursault undergoes a paradigm wobble in regards to his outlook on the world. Meursault is indifferent to death end-to-end the novel, that is, until he himself is faced with it. He realises that he does not want to die prematurely. He says, ?I just couldn?t accept such an absolute certainty [his death sentence]? (p.105). However, as he reflects on the subject; his pose begins to change somewhat. Meursault begins to see the take in an Absurdist light. Soon he comes to the conclusion that ?it doesn?t matter whether you die at thirty or seventy...other men and women...will go on living for thousands of years...Given that you?ve got to die, it merely doesn?t matter but how or when? (p.109). Meursault realises the inevitability of death. He arrives at peace with his execution. At the novel?s conclusion, Meursault ultimately realises that the universe, like him is indifferent to existence, and he becomes clever. Earth cerebrated imagery enhances Meursault?s euphoric humour at the very end of the novel - ?The night air was cooling my temples with the smell of prime and salt? (p.116). For the bulk of the novel, Meursault?s cognisantness of the Absurd is largely subconscious. It influences his actions but he does not seem consciously aware of it until he begins reflecting on his life in prison. As Meursault consciously embraces the Absurd, he becomes happy and less burdened. He says, ?I...laid myself open to the composure of the world. And...I realised that I?d been happy, and that I was still happy? (p.117). Once again, Camus is trying to suggest that once the reader accepts the inevitability of death and embraces the Absurd, he will be truly happy. Death plays a central manipulation in ?The Outsider?. use Meursault as a vessel for his ideas, Albert Camus presents his perspective regarding the fact of death in accordance with his Absurdism. Camus uses symbols such as the sun to occasion death in the novel. Introducing, climaxing and last his novel with death allows Camus to relate death?s dominate presence in society. Camus examines the clash between his Absurdism and conventional social morality, stating how Absurdism brings greater certainty in beliefs. Camus? distinct writing style helps to reinforce his points and mirrors the mood of Meursault. akin Meursault, Camus urges the reader to accept the inevitability of death and embrace the indifference of the universe as that is the only way to achieve authoritative happiness in life. No Bibliography: My own analysis of The Outsider. If you want to get a full essay, order it on our website:
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