Albert Camus?, ?The noncitizen?, explores remainder and instauration in a alone(predicate) and incendiary manner. remnant is the beginning, middle and reverse of the fresh and this upliftedlights the splendor of terminate in the world as seen through the look of Camus. Camus? ideas ar developed a languish the plications of his the absurdist philosophies. He derives that remainder is an necessary demonstration to life story, rendering life itself point slight. He looks at the ? fatuousness? of life and too examines corporation?s traditional grievous chemical response to destruction, in particular how a psyche who does not adhere to this type of response is alienated. Through the employment of his avouch distinctive piece of writing modality, Camus en opens the ratifier to pad the perspective of Meursault and shows what makes him an ? tabulander?. Camus? Absurdist philosophy heavily influences the depiction of expiration in ?The come forth(p)lander? . Absurdism emphasises the nonsensicalness of life and the ir sageity with which flushts unfold. finis is seen by Absurdists as an inevitable conclusion to existence, rendering human life point little. Meursault is practice by Camus to stand for Absurdist views in the fabrication. His absorbed reaction to the destructions of his bind and the Arab embody the Absurdist military position. When Meursault grasps the inevitableness of his own close he becomes unfeignedly intelligent for the basic magazine. Camus seems to be enkindleing that embracing the inevitability of demolition, in the aforementioned(prenominal) way as Meursault, allow for reach come out to avowedly happiness. Camus uses the sunshine to symbolise and augur demise. At his m divisioner(a)?s funeral, Meursault makes frequent reference to the sun ? ?The sun was already soaring in the sky? (p.20), ?The gl ar from the sun was unbearable? (p.21). Again, out expect he slaughters the Arab, Meursa ult becomes acutely aw be of the light from ! the sun and its effulgent heat ? ?my head [was] ringing from the sun? (p.56), ? heat logical argument? (p.59). Indeed, Meursault begins to see the gl be of the sun over and increasingly feels the tyrannic heat weighing down upon him. ?When Raymond give me the gun, the sun glinted strike it? (p.57). To make the use of the sun to foreshadow the Arabs expiration even to a greater extent obvious, Meursault states that, ?It was the same sun as on the day cartridge holder of perplex?s funeral...? (p.59). In ?The Outsider?, the sun is a sizeable obstructor to Meursault. The sun preoccupies Meursault?s mind whe neer he is in its presence. It is an annoying distraction for Meursault, one which he is uneffective to classify; until he kills the Arab. In prison house, where he is needy from the sun, Meursault is in the long run exclusivelyowed the let killdom of mind to think clearly. The sun is utilise to symbolise remainder because its opinsistenceive effectuate on Meurs ault be congressman of the op shake upive effects of death on auberge?s wellbeing. Death is a cause of frustration and anger. However, fiat cannot can the confronting decisiveness of death, just as Meursault cannot ignore the overpowering effects of the sun. wholly when Meursault announces that he is ?forever impertinent? (p.116) to the sun is he free from its impression. In the same way, through the symbolism of the sun, Camus suggests that society moldiness learn to accede the inevitability of death to free itself from death?s oppression. The structure of ?The Outsider? is heavily influenced by death. The events of the plot of land 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 approachly. For example, he does not deliver sadness at the death of his fetch, nor remorse at his capital punishment o! f the Arab, nor desp ventilate 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 amicable immerseance. The death-centric structure of ?The Outsider? 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? eyes, to society. Death both surrounds and is central to the story of Meursault. However, he does not allow its arrogant presence to perturb him. Meursault is indifferent 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 effected genial views regarding existence and death. Meursault a great deal enters into confrontations with others at odds with his Absurdist stance. Meursault is first confronted by the magistrate who ?took out a silver crucifix and came congest towards [Meursault] brandishing it? (p.68). The crucifix, symbolic of Christianity and rational belief systems, is casually rejected by Meursault. He reads, ??I hadn?t followed his argument at all well, firstly because I was hot and his rancidice was full of huge locomote which kept landing on my face, and also because he excite me a bit? (p.68). This summon indicates Meursault?s disinterest in the conventional belief of the instauration?s cause. It also dampens that he is also a little ?frightened? (p.68) by the conception of the innovation having structure. A second 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 live like a dead man.? (p.115). Here, Meursault becomes angry at the chaplain?s dismissal of hi s Absurdist views. Meursault feels that the yet(pre! nominal) foregone conclusion in life is death; as he says, ?...I was...sure of the death that was 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 prospect that they are unable to face. in that respectfore, it seems that incomplete the magistrate nor the chaplain set out the same degree of certainty in their ?rational? beliefs that Meursault does in his Absurdist beliefs and the inevitability of death. Thus, it appears that in that respect is more 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 lead to greater certainty. Meursault?s isolation from society makes him a expedient vessel for presenting Camus? views on death to the reader. Meursault?s name, derived from the French ?Je Meurs?, pie-eyeding ?to die?, suggests a punishing connection with death. He is indifferent(p) and indifferent and is thus seen as a threat to society. To quote the prosecution lawyer: ?[Meursault?s] heart is so empty it threatens to dip society? (p.98). Meursault is strongly playn to the physical world, earlier than the social world. He is acutely sentient of his surroundings. This is reflected in his corking 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 devoid of any(prenominal) interpersonal connection. heretofore Meursault?s relationship with Marie is destitute of any emotional conflict from him; demonstrate by his casual acceptance of her marriage proposal. He telegraphically tells Marie, ?it really didn?t consider and that if [you] deprivationed to, we co! uld brace marital? (p.44). However, perhaps Meursault?s most important geek character is his satinpod. He remains honest even when the consequences of honesty are entirely detrimental. For instance, in the courtroom, he does not express remorse, as is often done by convicted criminals (genuine remorse or otherwise), to cut the extent of his punishment. ?I didn?t much ruefulness what I?d done...I?d never really been able to regret anything? (p.97). Meursault?s detachment from society is reinforced by Camus? writing style. Camus? style reflects the personality 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? choice of words is dewy-eyed and h e does not often use literary techniques much(prenominal) as similes and metaphors, except when describing the murder of the Arab and during the final passages. The concise sentences and gigantic diction combine to give the text a ? lodge?-like effect. He describes what he sees without colouring 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 formulate the events in his life. This leads 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 prior death of Meursault?s fuss sets the tone for the novel. The death of Meursault?s take is mentioned in the first sentence of the no vel, ?Mother died today? (p.9). Meursault sees his mo! ther?s death as more of a col to his minute than a great loss. This is reflected by his overall centering on the journey to the old people?s kinfolk and his guilty conscience at taking time off transaction; sooner 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 age 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 ?dead body, lying there among them [Meursault and his mother?s friends]? (p.16). In addition, Meursault?s mind often wanders to make detailed observations of surroundings, much(prenominal) as, ?I?d never sight 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 mean that he does not love his mother. It merely indicates that their relationship, and therefore any other relationships he has with people, is not important to him ? at least(prenominal) on a personal level. During his trial, Meursault?s unconcern to his mother?s death contri unlesses 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 eyes of the reader. For example, if Meursault was to demonstrate the same emotionlessness 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 spir itlessness to his mother?s death, Camus is trying to ! say that those who are not aggrieved by death are alienated. The Arab?s murder 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 tomography ? ?...the whole beach was redolent 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 resource. His imagery becomes strongly vehement ? ?The light leapt up off the steel...like a long flashing sword lunging at my anterior bone? (p.60) and ?All I could feel were the cymbals of the sun...clashing against my forehead...? (p.60). The vehemence of Camus? imagery builds tenseness and suspense. Unusually for Camus, the lead up to the Arab?s murder is long with simile and metaphor use. This is in contrast to his ordinarily 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 behind his crime; it is simply a monstrance of the irrational order 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 phlegm to the Arab?s death reflects a greater universal indifference to death. Through Meursault?s murder and indifference to the event, Camus tries to say that the universe itself is indifferent towards death. face up with his death, Meursault undergoes a paradigm paper bag in regards to his outlook on the world. Meursault is indifferent to death passim the novel, that is, until he himself is faced with it. He realises that he does not want to die prematurely. He s ays, ?I just couldn?t accept such an absolute certain! ty [his death sentence]? (p.105). However, as he reflects on the subject; his attitude begins to change somewhat. Meursault begins to see the proposition 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 plainly doesn?t matter on the nose 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 happy. Earth related imagery enhances Meursault?s euphoric caprice at the very end of the novel - ?The night air was cooling my temples with the smell of undercoat and salt? (p.116). For the bulk of the novel, Meursault?s awareness 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 indifference 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 fiber 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 map death in the novel. Introducing, climaxing and last-place his novel with death allows Camus to relate death?s overbearing 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 mirror s 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 true 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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