Showing posts with label Camus. Show all posts
Showing posts with label Camus. Show all posts

Thursday, October 11, 2007

Camus Archive Model Paper 2

Angela S6

So many of you all tried to write about the sun as a symbol in the novel--but you never really went beyond locating it as a symbol. Here, Angela not only shows HOW the sun works as a symbol, but uses it to develop a solid character analysis and connect it to the Oedipus myth--another thing a bunch of you tried to do to establish M as a tragic hero. But again, proving a character is a tragic hero is a bit simplistic and formulaic. The first body paragraph does a super job with the pacing of language to create a dream-like state in the narrator (a deft analysis)--and Angela continues on to transition to "blindness" as a topic, investigating the effect on many levels.

There are times in life when one becomes completely overwhelmed by the intensity of a situation and leaves reality. These situations allow the human senses to become sharpened and discover things that one would normally not notice. In two passages from The Stranger, Albert Camus suggests that the intensity and blinding quality of the sun cause Monsieur Meursault to enter a dream-like state and ironically discover the truths and reality of his life. By the end of the first chapter, Monsieur Meursault is at his mother’s funeral and buries her and by the end of the first half of the book he murders an Arab. Both passages deal with death which is a topic that is difficult to accept and understand. Death makes people start to question their own lives and try to find the purpose in living, even though, in the end everyone will die. Although Meursault does not want to acknowledge or does not seem to care about the death of his mother or the fact that he is killing the Arab, the intensity of the sun consumes him and enables him to realize the truth in his life. Camus suggests this through his use of imagery of the sun and imagery of the eye and blindness. The imagery of the sun reveals when Meursault’s senses start to become acute and make the reader feel as if he has entered a dream-like state. The imagery of the eye reveals the qualities of Meursault that make him a tragic hero which is connected to the mythical story of Oedipus. Also, his use of diction contributes to the feeling that Monsieur is in another world and has left reality.

When Meursault is on his way to bury his mother, the sun is beats on him and makes him exhausted. Up until this point in the story Meursault has not come to terms with or has acknowledged his mother’s death. While walking to bury her he is completely overwhelmed and says, “…everything seemed to happen so fast…that I don’t remember any of it anymore”(17). Meursault’s short and choppy sentences suggests that he is leaving reality and entering a dream-like state. He continues to say, “Except one thing...”(17). This one thing that he recalls is a statement that the nurse made about the heat. She says, “‘If you go slowly you risk getting sunstroke. But if you go too fast, you work up a sweat and then catch a chill inside the church’”. This quotation is a metaphor for life and reveals that in life there will always be consequences. Although one may try to avoid certain things such as “sunstroke”, in the end one will “catch a chill inside the church” or suffer. This suggests that although Muersault may try to avoid acknowledging his mother’s death it is unavoidable and the end result will be feelings of pain and guilt.

Meursault responds to the nurse by saying, “She was right. There was no way out”(17). Meusault agrees and believes that life is inescapable and the intensity of the sun is revealing the reality of his situation. He finally realizes that his mother has died. Monsieur continues on and begins to observe objects and people around him. Once Maman’s “fiancé”, Perez, catches up with the crowd, Monsieur notices, “big tears of frustration”(18), running downs his face. He than says, “They spread out and ran together again, leaving a watery film over his ruined face”(18). Camus creates this image of Perez over come with sadness for Maman. He is blinded by his tears and Monsieur observes this perhaps because he has difficulty expressing his own emotion. Perez may be compared to the mythical prophet Teiresias who is blinded but is given the gift of prophecy to make up for his blindness. Although Perez may appear to be suffering through Meursault’s eyes, in reality Perez knows the truth and is suffering because he is mourning the loss of someone he loved. The fact that he had the chance to love another human being is his gift and this is something that Meursault has yet to experience.

Meursault in the second passage also becomes blinded by tears but for a different reason than Perez’s. Meursault’s blindness is from trying to avoid his destiny and not accepting the truth in his life, similar to the mythical character Oedipus. Oedipus blinds himself after he tries to avoid his destiny and fails miserably.

After Meursault finishes observing Perez he begins to describe specific objects around him. As he watches, “the blood-red earth spilling over Maman’s casket,” and “the white flesh of the roots mixed in with it…”(18), it seems as though he is realizing that his mother is finally gone. Monsiuer’s diction is so specific and gives the effect that although he is not expressing any emotion he is fully aware of his situation and is finally saying good-bye to his mother. Monsieur continues to list random things such as, “voices, the village,”(18) and “waiting in front of the café”(18). Meursualt’s diction once again suggests that he has left reality. He is listing random things that have nothing to do with the death of his mother. Also, the staccato feeling and rapidity speed of his words make it seem as if he is overwhelmed and that his thoughts are scattered. In the last line of the passage Meursault finally says, “…and my joy when the bus entered the nest of lights that was Algiers and I knew I was going to go to bed and sleep for twelve hours”(18). Meursault is happy to leave the cemetery and wants to leave this “dream world”, which is ironically filled with realities and truth. He seems to be put at ease when the train arrives and wants to go into his own bed, where he will return to avoiding his destiny or the truths of life. In the second passage he will discover the consequences of avoiding his destiny.

Monsieur decides to walk alone on the beach in the second passage, after previously leaving the beach to avoid the Arab, who is stalking his friend Raymond. . Raymond returns to the beach house to be safe, but Monsieur chooses to go back to the beach alone with a gun. The second passage, similar to the first, takes place on a scorching hot day. Meursault returns alone to the beach and is intently watching the Arab. As Meursault contemplates leaving the Arab and returning to the beach house he says, “But the whole beach, throbbing in the sun, was pressing on my back”(58). Meursault’s diction and personification of the beach gives an image that the intensity of the sun is weighing heavily upon him. The beach is being personified and it is “throbbing in the sun” and is “pressing” on his back. Once again he leaves reality due to the intensity of the sun and it is not allowing him to leave the beach. He is unable to avoid his destiny and the truth has to be revealed. As Monsieur comes closer to the Arab he says, “The sun was the same it had been the day I’d buried Maman”(59). This quotation suggests that, similar to the other passage, Meursault enters his dream world and the sun is forcing him to face the truth which he wants nothing to do with. Eventually Meursault comes closer to the Arab, when finally, he “drew his knife”(59) and “held it up”(59) to him “in the sun”(59). Monsieur now realizes that he could be killed and becomes nervous and is sweating profusely. He says, “…the sweat in my eyebrows dripped down over my eyelids all at once and covered them with a warm thick film. My eyes were blinded behind the curtain of tears and salt”(59). Similar to Perez in the first passage Meursault is blinded by tears. Meursault’s tears of blindness differ from those of Perez because his are not created by truth but are created from the avoidance of truth. Meursault can easily be compared to the mythical character Oedipus. Oedipus, a tragic hero, ends up poking out his eyes and causing blindness because he avoided his destiny. He tries to avoid consequences in his life, just like Muersault, and in the end is punished. Meursault always takes the easy way out and never actually suffers because he is not willing to take a risk and accept the truth. These are the qualities that make him a tragic hero. The fact that he avoids his destiny and does not accept reality, brings him a life filled with tragedy and pain. Now the truth is revealed and there is no way he can go back.

The Arab begins to slash at Meursault and all he can “feel were the cymbals of sunlight crashing”(59) on his forehead. The moment on the beach continues to intensify as the sun continues to pound on Meursault. Eventually, “everything began to reel”, and “the sea carried up a thick fiery breath…”(59), and it seemed as if the “sky split open from one end to the other to rain down fire”(59). The diction and imagery of these quotations reveals that this dream world is progressively becoming more intense. The fact that pure rain is turning into fire suggests that Muersault has lost all control over his life and his destiny is taking over. Monsieur’s body begins to tense up and he starts to grab his “hand around the revolver”(59) and finally “the trigger gave”(59). Meursault shoots the Arab and he slowly returns from his dream world back into his false reality. He finally, “shook the sweat and sun”(59).Once the sweat and sun have left his body he has officially left his dream world and must face his actions. He than says, “I knew I had shattered the harmony of the day, the exceptional silence of a beach where I’d been happy”(59). The longer structure of this sentence compared to the previous short sentences suggest that Monsieur’s actions are becoming less intense and are slowing down. This is another sign that he has left his dream world.

Meursault tries, throughout the story to avoid suffering and truth and in the end he is basically receiving his “chill inside the church”(17), for never accepting the truth. He continues to shoot four more times and than admits that “…it was like knocking four quick times on the door of unhappiness”(59). Monsieur is taking in the fact that he has taken another’s life. All of his life he avoids suffering and his destiny and it came back to him in the end. He finally admits that he is unhappy and realizes that he must now live in his false reality which he has created.

In The Stranger, Albert Camus succeeds at creating a tragic hero who lives in a false reality. Monsieur Muersault only discovers the truth in life when he goes into a dream-like state. The intensity and clarity of the sun allows him to travel into this state and see things in his life that he normally would not see. Meursault, like Oedipus was “blinded” because he does not accept his destiny and in the end creates his own tragic life. Inevitably in life there are events and situations that one many try to avoid, but the truth is that one needs to realize the reality they live in and accept their destiny. Muersault realizes this too late. He avoids feeling any emotion about his mother’s death or anything for that matter. He thinks that he will live peacefully by avoiding his suffering, but he shatters his peace and takes another’s life.

Model Selections from the Camus Papers Archive 2


William C5


I thought this was a successful intro / thesis. The way William worded it was what makes it effective.

In The Stranger, by Albert Camus, Camus suggests that mankind is illogical by nature through the illogical actions of the most ideally logical character, Monsieur Meursault. Meursault is habitually indifferent and acts only with regard to his physical being. He is the perfect model for the most logically sound person, as he utterly lacks emotion and thus is able to live life through pure logic. However, Meursault carries out the most illogical actions even though he is supposedly logical, a contradiction that leads to his death sentence and execution.


Emily Ro 6

This is an example from one of Emily's Body Paragraphs. I thought it was a wonderful piece of textual evidence to connect two seemingly different topics: religion and women. I also thought this could've been used to develop M's character in an analytical way--any ideas? Also, this connection between M's reaction to women and religion might be incredibly interesting to pursue a little more. Think about all the connections that could be made from the evidence and Emily's writing from this paragraph.

Meursault is opposed to religion. Religious ideas to him are not “worth one hair of a women’s head”(120). Meursault does not look highly on women throughout the book. When Raymond is beating the woman in his room Marie suggests Meursault to find a cop. Meursault’s response was that he “didn’t like cops”(36). Meursault’s indifference to the situation shows the lack of respect he has for women. When Meursault says that religious beliefs are not even equivalent to a hair of a women, religion to him means nothing, and he possibly resents it. Religion gives meaning to life, and Camus believes there is no meaning to life which is the belief that he shows through Meursault’s rant toward the Father.

Caitlyn H.5

A delightful intro/thesis that deals with the nature and philosophy of human existence. I actually thought this was pretty darn deep. Made me question the meaning of life and stuff like that.

In the novel The Stranger, Albert Camus uses the character of Mersault as an example of a being encompassed in the experience of being human; through Mersault’s apathy comes a glimpse of emotion at certain points in the story. One example of this crumbling facade is the metaphorical revelation he has at the moment of killing the Arab, the other, the breakdown of Mersault in the prison cell as he yells at the priest for his constant speaking of religion. Through these two outbursts comes the epitome of a human: an emotional being who hides from his problems, bottling them up for so long, that he is a stranger to himself.

and the conclusion to Caitlyn's essay:

These two passages suggest that there is a wide range of emotion somewhere inside of the indifferent and apathetic man that is Mersault. He is an example of what can happen to the person who bottles up their emotions into obscurity: they will explode at random times, and the results can be truly disastrous or can bring about great epiphanies about oneself.

Emily L.6

This first Body Paragraph does a great job of using the setting to set up Camus' struggle against society. Because of the successful integration of evidence, Emily allows herself to have some real commentary as to the effect of the placement of images in the scene to effect Camus' purpose. Emily's next two paragraphs also remind me of what a lot of you attempted in your essay--which was to either write about authority, absurdity, or both. For Camus, since we have no control over our own fate (which is absurd)--isn't it even more absurd that people with "authority" can also affect our fate? Not that there is anything we can do about this or that it is even wrong--it is just absurd and illogical. Life is full of irony, isn't it?

Then Meursault notices “a row of faces in front” (83) of him. Camus uses the court scene to symbolize society as a “whole” which Meursault describes that there was nothing to “distinguish one from another” (83). At this point, everyone is looking at him as if they are there to judge him. He “hadn’t realized that all those people were crowding in to see” (83) him, but now he’s at center stage between all the people and it is him versus society. Meursault is in constant conflict with society because his life exceeds beyond his control. The lawyers, juries, and witnesses now have the power to determine his fate. Meursault had been advised to “respond briefly to the questions” (85) and to “leave the rest to him (his lawyer)” (85). Unable to have any word on his own trial, his life is in the hands of others which is ultimately absurd because the witnesses are given the right to determine his life. As a result, the prosecutor makes false assumptions to the case, using non relevant information concerning his reaction on the day of his mother’s death to support what is undefined and what Meursault believes to be plain “bad luck”(92). The trial depicts nothing more than a “perfect reflection of… everything is true and nothing is true!” (91) The prosecutor never achieved a reason for why he shot the Arab, but improvised his own reason. Even without solid proof, the jury finds him guilty. His life was basically determined by people like Thomas Perez, who he met only for one day.

When the father speaks to Meursault concerning religion, it portrays a similar authoritarian over Meursault as the trial. The father insists “God can help you, every man in your position has turned to him,” (116). Society appears to constantly bring in meaning toward every aspect of life. They consider bringing in a priest so before one dies, they could realize the importance of their existence. Normally people want to seek god to rid their sins before dying. However, Christianity is just another belief in attempt to find meaning and order in life by basing it on God’s creation. Truthful to his beliefs and atheism, Meursault refuses to allow the father have religious authority over him because he believes that life is meaningless. Living was pointless for “we were all condemned to die” (117). It appears illogical to believe in God when God takes away life. If one is to believe in god, their only applying a fake proof into why certain rational events occur when most of the time; it’s just the way it is and there is no meaning.

Throughout the novel, Meursault believed that life by existentialism had no meaning or purpose. Without any concern or regards to finding a rational structure, his life was pretty much predetermined not only by fate but by those who afflicted his voice: the jury, lawyer, prosecutor, and the priest. Other people have more power and influence on his life that he did and that was what created the absurdity in the novel. It is not until the end when he’s in jail that Meursault grasps onto his life. Although humans have unchangeable destined fates, he realizes that he can control his emotions. Whether to morn and scream for help or to live the last day of his life like treasure was now his preference and his control. If Meursault had never realized his faults and gained an understanding of his absurd world, he wouldn’t have been able to experience a fulfilling happiness.


Quan T.6

Another take on the same theme:

In The Stranger, Albert Camus creates a paradox between living rationally and living irrationally. Camus’ discourteous tone establishes the character, Meursault, as a “stranger” in society. Meursault believes in living life rationally, however, he lives in a society, which contradicts his own beliefs. Through the absurdity of human society and the futility of truth, Camus suggests that life as a “stranger” is meaningless.

Indications of Meursault’s discourtesies are found during Maman’s funeral procession. Meursault views death as a natural phenomenon which occurs in life. He does not experience sadness or depression; therefore refuses to mourn for Maman’s death while her friends come to keep vigil around her coffin. Instead, he notices the every aspect of annoyance around him. Meursault is immediately irritated by the woman who started crying. At an environment where Meursault is supposed to reflect upon his loss, he only wishes to not “have to listen to her anymore” (10). He also notices that the elders “would look at the casket, or their canes or whatever else” (10). There is a natural tendency for humans to grieve over the loss of friends and family. Meursault’s focuses on observing the irritating actions of the Maman’s friends rather trying to sympathize with their thoughts and feelings. In his eyes, these people are wasting their time because it pointless to grieve over death. Camus chooses these words because they portray Meursault’s callous personality. Meursault’s rational thoughts separate him from the humane people present at the funeral.

Meursault’s insolence grows as the passage progresses. Meursault incorporates more bothersome factors from his experience into his thoughts. He is bothered by the “old people” (11) who are “making these weird smacking noises” (11). Meursault dares to suggest the “dead woman lying in front of them didn’t mean anything to them” (11) since they are “so lost in their thoughts” (11) making weird noises. Meursault contradicts himself because he clearly shows no respect for Maman. While the elders are paying respects to Maman, Meursault only shows concern for himself. He complains about his back hurting. Meursault further reveals that his “back was hurting more and more” (11); emphasizing Meursault’s self-centered personality. Camus carries Meursault’s incivility to another level. Not only does Meursault not sympathize with Maman’s friends, he displays the utmost disrespect by being inconsiderate and thinking solely of his own well being.

Wednesday, October 10, 2007

Camus Archive Model Paper 1

Laurie M6

I really like the thesis of this paper (a lot of you should have gone this route)--the philosophical aspect that we as humans understand things only though opposites (we understand light though comparisons with darkness etc.) is very effective for a thesis in this book. (Of course, later on in the year we will eventually read Wittgenstein who proved Hegel wrong--Hegel built a universe of philosophy based on opposites and then Wittgenstein argued that opposites were only theoretical and didn't actually exist (this, by the way, is a gross condensed and not very accurate version of postmodern philosophy--but I digress.))

Anyway, what was so effective about this thesis was that it was used for character analysis (and the growth of a character.) Laurie did a great job explicating even the rhythm of the language (pacing) and the effect it had on moments in the book. I highlighted a phrase that is too vague--many of you are addicted to this phrase, and I thought the use of personification was critical here to expand on. Many of you noticed Camus personifying the world, but no one really got at why? Any ideas as to how it affects the novel? anyway, very well done here.


The author Albert Camus emphasizes the idea that in order to achieve complete happiness one must suffer. In the novel The Stranger, Albert Camus wants the audience to comprehend that there is never a positive without a negative; they go hand and hand. Camus uses both long and short sentence structures in order to convey both struggle and happiness.

In this novel the main character, Meursault, undergoes many difficult times in his life. He grows up without a father; his mother dies and he is sentenced to death for murder. Meursault having an imperceptive attitude causes him to disregard all these happenings in his life. It takes a bit of time before Meursault realizes how much he has suffered throughout his life. Meursault comes to this realization when he is on his way back to prison after his trial. Camus’ word choice and structure of long sentences and Merusault’s list of memorabilia during his ride to prison aids the reader to understand how quickly he is going through all of this in his mind. He mentions in the van on the way to prison that he “recognized for a brief moment the smell and color of the summer evening” (97). Meursault is now recognizing all that he does not have “in the darkness of my mobile prison” (97). With the knowledge that he will be put to death Meursault is in deep agony, he knows he is truly suffering because he remembers the times when he “used to feel happy” (97). He goes through a list of different things he does not have anymore including, “birds in the square, the shouts of the sandwich sellers, the screech of the streetcars turning sharply through the upper town” (97). With the quickness of Meursault’s language it causes the reader to realize how nervous he is, giving him an anxious yet sad position. All these things he never paid attention to before are now being noticed, on his way to his main place of agony; his cellblock.

Meursault then transfers into his stage of realization. He understands that he will not have what he used to take advantage of before being convicted. It is now clear to Meursault that he is locked in this cell; Meursault goes “back to his cell that he went to wait for the next day” (97). He thinks about what he has to endure while in his jail cell, while recognizing the realness of his future suffering and soon death. Meursault wishes that prison would be “familiar paths traced in summer skies could lead as easily to prison as to the sleep of the innocent” (97). All the aspects of free life that Meursault does not have cause him to begin his true stage of agony. He now has to live with the fact that he is living in prison and it now becomes real to him. Meursault’s distraught tone in this passage conveys his sadness and acceptance of being in prison.

Camus also conveys the opposite of the previous passage in many different ways. Unlike the previous passage, Meursault grasps the importance and value of true happiness. After the death of his mother Meursault has no idea as to why people mourn for her. He realizes his mother concluded her life happily and “Maman must have felt free” (122). After all his suffering he feels “ready to live it all again too” (122). He wants to live it all again because he understands how to be happy and wants to feel the affects of happiness once more before his death. Meursault has a revelation about his mother’s life and is conveyed in a great way by his tone of excitement.

Meursault’s tone changes and is enthusiastic after his revelation. He decides to open himself “to the gentle indifference of the world”(122). With this he is now open to worldly emotions he now sees himself like a “brother, really” (123). Meursault assures the reader that he really feels like a brother. Camus wants to emphasize Meursault’s change by using clarifying language and his choice of punctuation aids in this as well. Meursault then goes on to say, “I had felt that I had been happy and that I was happy again” (123). Meursault’s indifference as to why his mother wanted to die happy has now changed into assurance. It takes Meursault a while to fully understand the impact of happiness after he undergoes an abundance of suffering.

Camus wants the reader to comprehend that in order to truly understand the value of happiness one must suffer. Meursault endures pain and sadness. After undergoing all these trying times, before he is executed Meursault is happy and gains the ability to feel the side effects of happiness and dies happily.

Model Selections from the Camus Papers Archive

Elina R6

I thought this essay did a fine job transitioning between two passages and connecting them--You are picking up this first paragraph mid-argument, but Elina establishes the relationship of Salamano and his dog to argue that Camus shows that relationships can force people into subservient and authoritarian roles that eschew individuality. Notice Elina's transition, (though she could've highlighted this with her own language a little more)--how Camus introduces Raymond immediately after this scene to establish a connection to Raymond's relationship with his mistress--a very appropriate comparison for her thesis. Camus' decision to introduce Raymond after this scene is so critical to highlighting his characterization. Though subtle, plot placement can be effective in argument, much more effective than plot summary.

In this particular relationship, Salamano has power over the ignorant dog. The role each character plays is evident when the spaniel attempts to surpass his owner making Salamano stumble behind him. Old Salamano in response to the humiliation and disobedience “beats the dog and swears at it. The dog cowers and trails behind. Then it’s the old man who pulls the dog” (27). Salamano’s authoritarian power takes over his character making him act violently. He uses his superior size and knowledge to his advantage to get back at the dog and keep him under his control. The failure of this relationship has unleashed an evil beast within Salamano. The unsuccessful correlation has changed him by turning him into an aggressive character. Salamano has assumed his position as the master, controlling every situation as he pleases, without any concern of how the consequences may affect his companion.

Along with Celeste, the owner of the diner, Meursault tries to identify the cause of Salamano’s violent behavior. Unfortunately, Salamano is too busy yelling at his dog to notice he is being spoken to and leaves the diner. Subsequential to the violent exit of Salamano and his dog, Meursault encounters his other neighbor, Raymond Sintes. He is known as the man who uses women to make money but when asked, he replies he’s a ‘warehouse guard’. As the conversation of the two men unravels, Meursault finds out that out that Raymond has a mistress and that he has beaten her until she bled. Raymond comes off as exactly what he calls himself, a ‘warehouse guard’. His behavior suggests that he uses women when he pleases and puts them away in a ‘warehouse’ once he’s through with them. Camus purposely has Meursault consequentially encounters his two neighbors who happen to both have unsuccessful relationships. In order to emphasize his view on relationships, Camus introduces Raymond and his mistress.


Benwit L6

I thought this was a solid introduction and an interesting thesis--the technical term Camus employs here is juxtaposition, another technique authors use to establish subtle theories on complex topics.

Introduction:

The importance of religion in humanity is a disputable issue that has been brought up countless times. Religion both enlightens and angers people; it is capable of both causing war and giving people the will to live. In the novel The Stranger by Albert Camus, Camus suggests that religion is not essential to living a complete and fulfilling life through the vastly contrasting interactions Meursault has between the abrasive Raymond and the faithful chaplain.

Except for the last seven words of the conclusion (cliche), I thought this was a nice example of "finishing" the logical argument of an essay without "saving the main point until the end" or "summarizing the main points of the essay"--both things you want to avoid in conclusions. Conclusions are probably the hardest thing to teach for this reason.

Conclusion:

Meursault as a symbol can be seen as the voice of reason and as a character, a human being untouched by morals and by unscientific thoughts. Therefore, Camus suggests that humans by nature do not require the concept of religion to be truly considered humane. In addition, the reader can infer that human nature will naturally have an affinity toward earthly desires as shown with Meursault’s friendship with Raymond. Logically speaking, living a carefree and perhaps moral-less life may be more natural than living with the commonly accepted morals that may be holding people back from living their lives to the fullest.


Meg S 6

I thought the main point of the thesis (though the intro could've been more subtle and integrated) was pretty cool. This gets at something incredibly universal without falling into cliche--the success, of course, comes in the following argument. I am posting the first couple of pages (the most effective). I think the image of the "bulging stomachs" could've been further analyzed for author's purpose in the first body paragraph--any theories on what Camus was doing? This is also a wonderful example of character analysis--most of you suffer from your theories about why characters act they way they do, but do not go back to the text to psychoanalyze them. The text here (imagery and actions) are critical to establishing character analysis.

In The Stranger , author Albert Camus' curt diction, offensive tone, and simple, direct syntax contribute to the characterization of the main character, Meursault. Meursault acts inhumanely in the face of situations that typically elicit emotion. Through his characters' indifference, Camus exposes the tendency of men to put on a masculine front in order to hide their true emotions.

The first instance of his insensitivity is at Maman's funeral. Her friends, the other elderly residents from her nursing home, come to keep vigil around her casket. Meursault first mentions them as a "rustling sound that woke me [Meursault] up" (9). In his eyes, they are nothing but a mere noise, completely insignificant to what he is thinking about. He observes that the women all have "bulging stomachs" and he says that he "never noticed what huge stomachs old women can have" (10). Elderly people are often highly respected members of society, and younger generations have a natural tendency to speak of them with courtesy. Meursault, on the other hand, uses rude, disrespectful terms, such as the aforementioned bulging stomachs, or "toothless mouths," (10). Camus chooses these words because it reveals the first sign of Meursault rejecting emotion. Meursault has "the ridiculous feeling that they were there to judge [him]" (10) and because he thinks that about innocent people who came to pay tribute to his mother, it is an indication of his insecurity.

Meursault's insecurity grows further on in the passage as well. He emphasizes multiple times that one woman "kept on crying" (10) and he wish that he "didn't have to listen to her anymore" (10). This woman comes to the funeral to pay her respects to Maman and to express her sympathies to Meursault. This act of compassion is met with resistance; Meursault, annoyed by her crying, is only concerned for himself and not for her. He does not want to face the sadness of losing his mother, and hearing crying, a sound of sadness, might trigger emotion, so he dismisses it as an annoyance. His sentences are very short and choppy, structured with simple subjects and verbs, and their directness conveys his agitation. The caretaker of the home tells Meursault that the woman was a very good friend of Maman's, and that now she "hasn't got anyone" (11) but that is the last that Meursault speaks of the woman in the passage. The commentary about this woman stops here because Meursault does not want to deal with the feelings that might stir within him if he interacts with her. By acting like he is tough and does not care about the woman, who could conceivably be one of the only links left to his mother, Meursault is putting up a masculine façade in order to divert the emotion.

After this point, Meursault shuts down; his diction and tone are more inappropriate and reckless, as he tries to overcompensate for his lack of emotions. Meursault states that the woman "finally shut up" (11). The phrase 'shut up' is usually used by teenagers or children, not adults talking about their elders. He complains about being "tired" and that his "back was hurting" (11). This physical need overtakes any other feelings or emotions, and a stereotypical man puts his physical needs, desires, or feelings before anything else. A "strange noise" (11) then aggravates him, and he identifies it as a "weird smacking" (11) sound that the elderly people are making by "sucking at the insides of their cheeks" (11). The connotation of this description is more like animals than it is like humans, so Meursault cannot relate to them directly. His diction here is demeaning, and it is particularly so because these people are hurt by Maman's passing, and attend the funeral to support him and mourn the loss of his mother. His final thought of the passage is that "the dead woman lying in front of them didn't mean anything to them. But I think now that that was a false impression," (11). He refers to his own mother as a 'dead woman' and that shows that he is indifferent to the whole situation, almost as if he is looking in on these events from the outside. He is a stranger to emotions, as the title of the book suggests, and his coldness covers him up so that emotions cannot penetrate within him.

Wednesday, September 19, 2007

Camus (Post Class Discussion) Period 6


due date: Saturday, September 22


Grading Criteria: Same as Discussion & Open Response


  • 40 points: Quality of Response, Use of Evidence, Analysis of Evidence, & Conventions

1. Directly respond to something someone said in class. It helps to start with something like "When Blank was speaking, he (or she) mentioned that (paraphrase or quote extensively from your notes). . ." and then continue the dialogue in writing. Again, I am looking for depth with these posts (and they should probably be 300-500 words).


Period 6 post here Period 6 post here Period 6 post here

Monday, September 17, 2007

Camus (Post Class Discussion) Period 5




due date: Saturday, September 22

Grading Criteria: Same as Discussion & Open Response

  • 40 points: Quality of Response, Use of Evidence, Analysis of Evidence, & Conventions
  1. Directly respond to something someone said in class. It helps to start with something like "When Blank was speaking, he (or she) mentioned that (paraphrase or quote extensively from your notes). . ." and then continue the dialogue in writing. Again, I am looking for depth with these posts (and they should probably be 300-500 words).

Period 5 post here Period 5 post here Period 5 post here