The apathy of meursault in the stranger a novel by albert camus

Christinethe narrator of the novel Dead Romance thinks like this when she's dismissing one of her friend's uber-depressing, Wangsty poetry: What I'm getting at is that in a pointless, empty universe a good time is as meaningless as a bad time, so you might as well slap on a smile and get on with your life.

The apathy of meursault in the stranger a novel by albert camus

He won the Nobel Prize in It was, of course, Camus who first spotted the significance of [the] new style of nihilism and identified it, in The Stranger, with the pathological apathy of the narrator Meursault—the French were far in advance of the Americans in seeing that the "rebel" was giving way in our day to the "stranger.

The decline set in with his … novel, The Fall, a book that seems to me only a mechanical repetition of what he had already accomplished before, and even at their best these new stories have nothing of the clear brilliance and beauty of The Stranger or the thickness of texture that distinguished The Plague….

The source of his power is not in my opinion his superior artistry indeed, as a craftsman of the novel he is rather poorly endowed by comparison with a dozen lesser writersbut in the very delicate balance he manages to strike between identification with the nihilists he writes about and detachment from them.

Reading Camus is like watching a man plunge over a precipice and then grab the edge of the cliff with his nails and hold on by God knows what miraculous instinct to survive. What matters is that he has looked upon the face of death and lived, that he has visited chaos and returned with the message that all we can do is try to think our way back into a world of meaning, to create a new world of meaning that makes no concession to the bankrupt philosophies of church or state.

Like the Algerian people among whom he was born, he appreciates "The glories of our blood and state" as substantial things, not shadows, and therefore looks upon death as the enemy. It is the intrusion of death that transforms the Garden of Eden into a charnel-house of horror, so that the human quest for happiness turns into a curse.

The precarious present is all a man can hope to enjoy. Hence the necessity for revolt. The crime of crimes is to resign the self to this intolerable condition, to sink into the morass of routine, even if it is done in the name of duty.

There is the dichotomy which is a perpetual source of anguish in man: Just as all truth must be uncompromisingly faced, so must one learn to live with the absurd, not by resigning himself to it but by revolting against it. The absurd is thus transformed into a kind of "negative" religion, providing the spiritual basis on which the tragic affirmation can stand….

From the beginning Camus sought to create a form of tragedy in which man would be presented as the doomed victim.

The Stranger Quotes by Albert Camus

His early plays marked an attempt, earnest though unsuccessful, to shape tragedy out of the knowledge that life is meaningless. The Misunderstanding is, like The Stranger, a representation of the encounter with the absurd. It is not tragic in structure or content simply because the absurd is not tragic.

Influenced in his conception of tragedy by the writings of Nietzsche, Camus held that tragedy emerges when two equally strong forces are in conflict. Man must assert his desire for freedom, but he meets the resistance of an external order that is indifferent to his needs, and these conflicting forces cannot possibly be reconciled.

In his battle against death, however, he beholds the blinding truth which redeems him from the clutch of illusion…. Camus raised aloft the banner of metaphysical revolt. Art is a protest in the name of life against the immutable decree of death.

That is how Camus sought to affirm life and repudiate the nihilism on which his vision of the absurd is based. The postwar American reader, then, read Camus, and still reads him, for largely nonliterary reasons. He reads him not so much for pleasure or delight, but for guidance. Camus is honest, and his style, his sense of myth, his authentic passion, his ability to become involved in an issue without being dominated by a program, have earned him a hearing: He is indeed a "moralist" in a great tradition, that of La Rochefoucauld, Montaigne, Pascal.

What is more, when he was alive he managed to use this gift of insight and of style to very good effect not only in his novels but in the newspapers….

Camus is not a "philosopher of the absurd" in the sense of an advocate of the absurd. The popular image of him shows Camus as one who somehow prefers the absurd, who finds it more interesting, more real, than rationality, and who takes it as the basis for complete freedom from all law: In actual fact he is at once more exacting and more traditional.

He first shows that what seems to be rational in accepted ethical and social systems is in fact irrational and largely meaningless. But the discovery of this meaninglessness calls for a revolt that will replace empty forms with authentically significant acts. Camus opposes to nihilism a certain "human measure" of which the best examples are to be found, he thinks, in the Greek and Mediterranean tradition.

Camus is, if anything, a Classic moralist on the stoic pattern rather than an existentialist thinker. It is questionable whether Camus … will remain for posterity one of the masters of the art of fiction. Few moderns have as warmly as did Camus, admired those classical moralists of France [who flourished chiefly between the time of Montaigne and Diderot], their wisdom nurtured on the experience of life and directed toward the practice of living….

Camus, however, except in his posthumous Notebooks, did not usually sum up his wisdom in those somewhat bitter pills of disillusion of which authors of maxims are fond. He is a moralist in another sense: Little did he care for the elaboration of a system of abstract and logical thought.

It is easy to refute each of the intellectual attitudes which he adopted and to take issue with the ambiguity of his positions on existentialism, on his criminal Christ-figure Meursault, on the sarcastic narrator of La Chute, on the Algerian problem. Any meditation which would not lead to action would hold scant value in his eyes….“The Stranger” (L’Étranger) by Albert Camus “The Stranger” by Albert Camus is a classic novel.

The apathy of meursault in the stranger a novel by albert camus

Submitted photo; Meursault, for all his apparent apathy . It was, of course, Camus who first spotted the significance of [the] new style of nihilism and identified it, in The Stranger, with the pathological apathy of the narrator Meursault—the French.

The Stranger: The Stranger is Albert Camus’s first novel, published in It follows the life of Meursault, a French Algerian whose apathetic responses to life get him in trouble socially and eventually get him killed.

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The novel is concerned with the absurd and also touches on the French colonization of . The Stranger Part 1, Chapter 5: Summary and Analysis Albert Camus. Homework Help. Part 1, Chapter 5: Summary and Analysis In spite of his apparent apathy, Meursault has developed a number of.

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Apathy in "the Stranger" - words | Study Guides and Book Summaries