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PUBLICATIONS
OF
THE^MODERN'LANGUAG&ASSOCIATION'OF'AMERICA
Issued
-*-(Volume
^-^
LXXI
Five Times
December
CAMUS'
By Carl
a Year
1956
Number
L'ETRANGER
A. Viggiani
866
Camus'
^VEtranger"
narrative division into three parts, the middle part ending with the con?
viction and death sentence. This tripartite division is marked not only
by the nature of the events and the development of the hero in each
part, but also by the time plan of the novel, which gives it its structure.
The last chapter of the book will hereafter be referred to as Part iii.
The events are narrated by the main character, Meursault, a clerk in
what seems to be an export-import firm located in Algiers. We are given
no positive information about his age; he is a young man, and like most
of Camus' heroes, he is probably around thirty. In Part i, the events are
narrated day by day, as if Meursault were keeping a journal. The shooting takes place on the eighteenth day, a Sunday. Part n covers a period
of a little over eleven months, and the whole period is narrated retrospectively. No time references are given in Part iii: the narrator talks
of his meditations and of one event, his interview with the chaplain.
This is a personal chronicle. Like Rieux and Tarrou in La Peste, Meur?
sault is writing a chronicle of death, but with one important difference:
whereas in La Peste time is only a necessary and convenient framework
that finally disappears, in VEtranger it is part of the essence of the
chronicler's story.
The events of VEtranger are few in number and easy to recall. The
principal ones are repeated here for reference purposes and in order to
make the time-structure-theme relationship clearer. The sequence of
events is as follows:
Part i
Chap. i
First day: Thursday. News of mother's death. Arrival at Marengo. The wake.
Second day: Friday. The funeral procession and burial.
Chap. ii
Third day: Saturday. Meursault's meeting with Marie at beach. They spend
night together.
Fourth day: Sunday. Marie has left. Meursault spends a restless day.
Chap. iii
Fifth day: Monday. Meursault agrees to help Sintes punish sweetheart.
Chap. iv
Eleventh day: Sunday. Day at the beach with Marie.
Chap. v
?th day: weekdayduring thirdweek. Meursault accepts Raymond's invitation
to spend following Sunday at friend's beach house. Agrees to marry Marie.
Chap. vi
Eighteenthday. Sunday. The murder.
Carl A. Viggiani
867
Part n
Chap. i
No precise time given. Meursault is interrogated by prosecuting attorney.
Chap. ii
No precise time given. Meursault relates prison experiences and meditations,
Marie's visit. (Eleven months have elapsed since murder.)
Chap. iii
First day of trial. (June, a year after murder.) Witnesses heard.
Chap. iv
Second day of trial. Meursault sentenced to death after final speeches of at
torneys.
Part iii
Chap. v
No precise timegiven: sometimeaftertrial. Meursault's meditations on death
and possibility of escape. The chaplain's visit.
In all of Part i the time references are numerous and precise. The
opening paragraph of every chapter except Chapter v has some refer?
ence to time, such as "c'est aujourd'hui samedi," or "Le dimanche ..."
Each major and minor event within the chapters takes place at a carefully specified time of the day: "J'ai pris Fautobus a deux heures"; "En
principe, Fenterrement est fixe a dix heures du matin." "Le soir etait
tombe brusquement."
Even when it is given indirectly, the time is
precise: "J'ai pense aux collegues du bureau. A cette heure, ils se levaient
pour aller au travail." "Le soleil tombait presque d'aplomb sur le sable."
Camus is so careful in the preparation of his timetable that in at least
one place he trips himself up: in narrating the events of the eleventh
day (the second Sunday), he begins with "Ce matin" and the next to
the last sentence in the chapter reads: "Mais il fallait que je me leve
tot le lendemain" (my italics), where one would expect ilfaut and demain.
The time of the year is implied in passing: Meursault reports that he,
Masson, and Raymond talked about spending the month of August
together at the beach and sharing expenses. Either the events are taking
place during that month and the men are making plans for the following
year, or they are taking place in June or July. What is important, in
any case, is that what happens takes place during the summer. The
shooting occurs on a Sunday, a day Meursault says he does not like.
In Chapters i and ii of Part n Meursault relates the events of eleven
months ("Et au bout des onze mois qu'a dure cette instruction . . ."),
principally his interrogation by the prosecuting attorney and the experi?
ence of prison life. Chapters iii and iv are an account of the two-day
868
Camus'
"VEtranger"
trial. In the whole of Part n the precise day by day account gives way
to a rapid flow of time whose events are narrated by a character for
whom time is rapidly becoming meaningless. Occasionally, precise time
references are made ("A sept heures et demie du matin, on est venu
me chercher"), but no day is ever given. All this takes place during
the fall, winter, and spring months. The trial begins with the summer
heat, during the latter part of June.
In Part n the significance of time, implicit in the whole of the first
part, becomes explicit. For example, the time of the mother's death,
which the narrator, in his opening paragraph, said was a matter of no
importance, becomes crucial at the trial. One of the most damaging
pieces of evidence against Meursault at the trial is that he began his
liaison with Marie "le lendemain" of his mother's funeral. This is part
of the ironic recapitulation of his career during the trial, of which more
will be said below. More important, for the moment, is the fact that
Meursault himself begins to talk about time, at first ironically but
finally in plain terms. In prison, he dwells on memories of sexual experiences. He says that in a sense these memories unbalanced him, but,
"dans un autre, cela tuait le temps" (p. 111). One page later, he repeats
the phrase: "Toute la question, encore une fois, etait de tuer le temps."
And again on the following page: "II me restait alors six heures a
tuer." We realize, as we encounter the expression the third time, that
like so many of the characters, images and statements in Part i ("Cela
ne veut rien dire," "II n'y avait pas d'issue," the petite automate, etc),
it has a meaning that transcends the banal notion it seems to convey.
For the whole concept and meaning of time are literally being killed in
and by the hero's experience. Soon after the third ironic restatement of
the theme it appears undisguised: "J'avais bien lu qu'on finissait par
perdre la notion du temps en prison. Mais cela n'avait pas beaucoup de
sens pour moi. Je n'avais pas compris a quel point les jours pouvaient
etre a la fois longs et courts . . . tellement distendus qu'il finissaient par
deborder les uns sur les autres. . . . Pour moi, c'etait sans cesse le
meme jour qui deferlait dans ma cellule" (pp. 114-115). That time has
spun practically to a standstill is indicated by the opening sentence oc
Chapter iii of Part n: "Je peux dire qu'au fond l'6te a tres vite remplace
l'ete" (p. 117). After the two days of the trial, time stops.
In Part iii there are no precise time indications. Only one event ocviolent interview with the prison chaplain. The recurs, Meursault's
mainder of the chapter is devoted to Meursault's speculations on death,
and the meaning given to life by death. References to time are replaced
by symbols of eternal return and permanence: day and night, sky, and
stars. Whereas the first paragraphs of chapters in Part i contained time
CarlA.
Viggiani
869
references, the first paragraph of the last chapter speaks of the sky and
the recurrence of day and night: "De celle-ci [his cell], lorsque je suis
allonge, je vois le ciel et je ne vois que lui. Toutes mes journ6es se
passent a regarder sur son visage le declin des couleurs qui conduit le
jour a la nuit" (p. 152). As he meditates, he contempiates the sky: "Je
m'etendais, je regardais le ciel, je m'efforcais de m'y interesser" (p. 158).
And when finally, after assaulting the chaplain, his calm has been restored and he feels ready to face his execution, he awakens "avec des
6toiles sur le visage" (p. 171).
Time, then, has stopped with the conclusion of the novel. The struc?
ture of the novel, the development of the hero's career, and the time-flow
in which the development takes place move along together from the
There is
away. UEnvers et UEndroit and Noces are autobiography.
abundant evidence that the rest of his works are equally autobiographical, that his heroes are fictional projections of his own developing
self. Gradually, however, Camus has drawn further away from his
fictions. In La Peste9 for example, the hero is a composite of several char* "J'appelleobjectifun auteurqui se
proposedes sujets sans jamais se prendrelui-m6me
commesujet,?{UEU, p. 132).
870
Camus'
"VEtranger"
acters, and thus the distance between creator and character is increased.
A similar development has taken place in his plays: Les Justes is far
more "objective"
than Caligula.
however, is midway
VEtranger,
between the lyricist and the semi-objective novelist and play wright;
it is a personal confession made in a thinly disguised journal by a fictional surrogate of the author.
Camus transforms this personal confession into a relatively impersonal fiction by means of a set of ironic devices, principal among
them, the reconstruction of myth in a modern idiom, multivalent names,
characters, images, and language, and occasionally, literary allusiveness,
of which only the main features will be touched upon here.
The central ironic device in VEtranger is its reconstruction of the
Sisyphus myth. The irony arises out of the transformation of the heroantagonist of the gods into an ofiice clerk who spends his days working
on bills of lading and the rest of his time in a variety of dull and sordid
adventures. The eternal punishment of Sisyphus is expressed in a contemporary image of absurdity: the deadening routine of the life of an
ofiice worker. As Camus puts it in Le Mythe de Sisyphe: "Lever, tramway, quatre heures de bureau ou d'usine, repas, tramway, quatre heures
de travail, repas, sommeil et lundi mardi mercredi jeudi vendredi et
samedi sur le meme rythme ..."
(p. 27). This is not the whole image;
to it is added the final awareness of the mortality and meaninglessness
of life, and the immortality and senselessness of death. What interests
Camus most in the Sisyphus myth is the moment when Sisyphus reaches
the top of the hill and watches his stone roll down. That moment, says
Camus, is "celle de la conscience." In his awareness of his eternally
futile task Sisyphus is superior to his destiny and stronger than his
stone. What makes the myth tragic is the condemned man's awareness
(p. 165). The counterpart of this in VEtranger is the last chapter, in
which the hero achieves absolute lucidity.
Grafted onto the Sisyphus myth in VEtranger are two more traditional mythical figures, the doomed man (CEdipus) and the sacrificial
God-man, or, as Camus prefers to put it, the man-god. That Camus
had these figures very much in mind when he wrote VEtranger is in?
dicated by his discussion of them in Le Mythe de Sisyphe, in which they
and Sisyphus are represented as prototypes of the absurd hero. The
CEdipus myth is reflected in the complicated trap set for Meursault by
chance, the sea, and the sun, and in his final attitude of reconciliation.
The man-god figure appears to have been suggested to Camus by (or
associated in his mind with) the careers of Christ and of Dostoevski's
Kirilov, the first, a symbol of divine self-sacrifice, the second, a sacrificial
hero who rejects God, thereby becoming himself God, and who anxrms
Carl A. Viggiani
871
his liberty and his love of humanity by what Camus calls a "pedagogical
suicide."3 It can be argued that these archetypes are found in hundreds
of works since antiquity and that their reappearance
in Camus' novel
is not particularly significant. The answer to this objection is the novel
itself and Le Mythe de Sisyphe, where the author's preoccupation with
them is explicit and clear. His use of myth is not unlike that of Joyce
and Eliot, that is, deliberately ironic and intended to bring together in
the reader's mind the mythical figure and the contemporary hero; and
like Eliot, Camus provides his reader with a commentary that reveals
the connection.
This central ironic device has its counterparts in the names of the
characters in the novel, which are for the most part multivalent. For
Camus, the naming of characters seems to be both a conscious and an
872
Camus'
"VEtranger"
Carl A. Viggiani
873
the last scene of the play makes abundantly clear. That Rieux is also
a disguised form of dieu is perhaps more conjectural; evidence for the
assertion lies mainly in Camus' preoccupation with the figure of the
homme-dieu, manifested in most of his works, in the fact that in La Peste
Rieux plays the role of an homme-dieu, and lastly, in Camus' constant
name-punning and allegorizing, as in the name Le Vieux. Fifth: if one
can assume that Camus' dramatic and novelistic heroes are fictional
projections of his own developing self, and that in La Peste those who
fight with Rieux against death are features of a composite portrait,
then it is probably not a coincidence that the names Rambert, Castel,
Taiiou, and even Faneloux (a character who has taken the existential
leap but who is an extension of Camus' ideal of the sacrificial saint) are
names that echo (with slight distortion) the phonemes of the name
Albert Camus.
From what has been said it becomes clear that in the names that
Camus uses one can often find meanings that clarify the whole of a par?
ticular work. This is true of UEtranger, although apparently not of the
name of its hero. Because of the suggestivity of the name, it has excited
the interest and curiosity of more than one reader. However, in discussing
this study with me, M. Camus said that he found the name at dinner one
evening when a bottle of Meursault wine was served. He added that, despite the suggestivity of the name, he did not consciously associate it
with any particular idea or feeling. He did say, however, that Salamano
was more than just a name to him, and it is, of course, not an inappropriate name for a character whose dog is covered with brown scabs and
spots, who resembles his dog, and who has "[des] mains crouteuses" (p.
61). The idea of 'dirty hands' that the Italianate name evokes reinforces
874
Camus'
"VEtranger"
sion for life, has as its epigraph a quotation from Stendhal that refers to
an execution, and the idea of death regularly breaks into this orgy of life.
The opening sentence of Le Mythe de Sisyphe declares that there is only
one really serious philosophical question, suicide. In VRomme revolte,
the main theme is murder. The obsession is everywhere in Camus' writings, coupled with an intense passion for life. In his novels and plays,
the characters constantly re-enact his grim preoccupation in a ritual of
homicide and suicide. In the works that followed Caligula, however, and
beginning with VEtranger, the role played by the main character or
characters is that of the sacrificial hero who suffers death for the love
of others, that they may live or live better in some way. Diego, Rieux,
Tarrou, Rambert, Grand, and Castel are literally healers who sacrifice
themselves in a fight against death. Yanek gives his life so that his
compatriots will have a chance for a better life. This development be?
Carl A. Viggiani
875
and the sea and the sun. This can be put in a more revealing,
though awkward, way, by saying that the other principals are the
and father-sun-judge-prosecuting
mother-sea-Marie
attorney figures.
One need have no psychoanalytical bias to recognize the identity of the
three female forms. The names of two of them are homonyms, and the
third name not only resembles the first two phonetically but is the name
of the type of the mother, who has traditionally been associated with the
sea, But Camus' other works are themselves the best proof of the
oneness of the three. The figure of the mother appears in some form in
all of Camus' creative works, even if only in a passing reference, as in
Noces. In Le Malentendu she murders the son by drowning him; in
UEtranger she is ultimately responsible for the son's death; she replaces
the dying wife in La Peste; she is the long-surlering mother of Victoria
in UEtat de Siege; in Les Justes she appears as the wife of the Grand
Duke, whom Ivan has blown up. Only for Caligula is it necessary to
invoke the benevolent shade of Freud to find the mother, this time in the
Marie,
the usually deceased father and the many figures who appear in his
stead. The fathers of Meursault and Tarrou are both dead but they
remain (because they are associated with capital punishment) to haunt
their sons' memories and infiuence their careers. In UEtat de Siege, Le
Juge Casado, 'the married judge,' is one of Diego's antagonists, and he
insists on turning Diego out of the house and denouncing him as a
bearer of the plague. Elsewhere the father takes the various shapes of
the symbol of authority, principally as a judge or prosecuting attorney
{UEtranger and La Peste), as police officers {UEtranger, Les Justes, and
La Peste, where, like Meursault, Rieux dislikes the police), or as priests
{UEtranger, La Peste). These characters either condemn the hero to
death, or are explicitly associated in the hero's mind with the death
876
Camus'
"VEtranger"
Carl A.Viggiani
877
to character, novel, and creator when he makes him say that "tous
les fetres sains avaient plus ou moins souhaite* la mort de ceux qu'ils
aimaient" (p. 94). It is part of the ironic joke in VEtranger that Meur?
sault is convicted not only for matricide but also for parricide. One
last point in this connection: Camus' heroes go to their deaths with
almost absolute willingness, and even a certain obstinacy; when they
struggle innocently against death, as in the case of Rieux, Tarrou, and
Diego, it is with the knowledge that they are sacrificing themselves.
They give life for life. We recall that this, according to Camus, is the
condition of remaining faithful to the idea of revolt. Thus, out of an
essentially (Edipal impulse arises not only the center of Camus' fictional
world, but one of the most creative concepts of our times, the idea of
revolt outlined in VHomme revolte.
A link between this psychological impulse and the fictional world and
world view of Camus is to be found in his use of two ancient mythic
religious symbols, the sea and the sun, which are clearly associated in
the mother and the father.
even consciously?with
his mind?perhaps
In most of Camus' works sea and sun are constant and dominant sym?
to the mythic and religious tradition out of which these symbols arise.
It hardly needs to be said that sea and sun are religious symbols of
great antiquity. In most religious myths water symbolizes the primordial substance out of which all forms arise and to which they eventually return. It possesses magical purifying powers: in it one is healed
and reborn. Through immersion in water everything is dissolved, all
forms disintegrate, all history is abolished; nothing subsists from what
had existed before immersion. It is the equivalent of death on the human
level, and of catastrophic events (the deluge) on the cosmic level. He
who is immersed in water arises free of sin, without history, worthy of
receiving a new revelation and of beginning a new life. While the sun
does not enjoy the same prestige and antiquity in religious myths as
water and sea, it is nonetheless an important and recurrent symbol in
? FSt ix (Jan. 1955), 42-53.
878
Camus9 "UEtranger"
death.7
This is not meant to imply that Camus' use of sun and sea symbolism
stems from an a priori knowledge of their ancient religious history. On
the contrary, Camus employs these symbols in a simple, natural, some?
times almost primitive way. Furthermore the feelings inspired by these
phenomena, and the psychological and dramatic functions of the sym?
bols in Camus' works closely parallel those associated with them in
religious myths from their very beginnings. In Noces, sea, sun, earth,
wind are all personified by Camus; through the richness of the sensual
excitation they provoke in him he has "un jour de noces avec le monde"
into the sea is a means of satisfying the longing that earth
(p.21).Plunging
and sea feel for each other (p. 18). He belongs to a race born of the sun
and the sea (p. 26). This sexual union is paralleled by that of sun and
earth and of man and earth (p. 64). For the author of Noces, Plotinian
Unity is expressed in terms of sun and sea (p. 61). In general, cosmic
phenomena inspire him with sensations of love, fertility, youth, in
short, with the glory of natural life.
In Le Malentendu, Martha's nostalgia for a land close to the sea and
under the sun causes Jan's death?by
drowning. (This is the only clear
instance of the mortal effect of water in Camus' works, but it is essential
for a complete understanding of its role in UEtranger.) In La Peste the
plague hits Oran under the hot sun of spring and summer and the beaches
are inaccessible
Carl A. Viggiani
Many of the sea themes of Noces are repeated and developed:
riviere et le fleuve passent, la mer passe et demeure. C'est ainsi
faudrait aimer, fidele et fugitif. J'epouse la mer" (p. 174). "Grande
toujours labouree, toujours vierge, ma religion avec la nuit! Elle
lave et nous rassassie dans ses sillons steriles, elle nous libere et
879
"La
qu'il
mer,
nous
nous
tientdebout"
(p. 187).
As in traditional religious and mythic symbolism, then, in Camus'
works the sea bears the attributes of the mother: it signifies fertility, life,
freedom, love, sexuality, and regeneration; it also stands for death,
however. The sun, on the other hand, has the characteristics of the
father: it weds sea and earth, it is the image of truth, it overpowers and
destroys. Together, they are symbolic representations of the forces
which dominate the fictional heroes and heroines of Camus' novels and
nonhistorical plays.
What has been said thus far makes it clear that any reading of UEtran?
ger that approaches it as if it were a piece of realistic fiction is bound to
fail. What the defense attorney says of the trial is an apt description of
the novel: "Voila l'image de ce proces. Tout est vrai et rien n'est vrai!"
Its language tends to be realistic, and its characters and setting are
drawn from the real world; but as a whole, the novel is a parable and must
be so interpreted. The main theme developed in the novel is death and
the meaning of life that comes out of a confrontation with death. Linked
to the main theme are a number of subsidiary themes, which, like the
theme of death, run through most of the works of Camus: the absurd,
880
Camus'
"VEtranger"
almost pure sentience: he hears, touches, sees, tastes, smells; each sense
is acute, and his reports are vivid, but while he has vague intuitions and
premonitions, he knows nothing. His pleasures are a succession of sensual
experiences: smoking, eating, swimming, sexual love. For the absurd
hero all experiences are equivalent, so long as the subject is aware; the
present, and the succession of presents before a sensitive consciousness is
his ideal. Like Don Juan, one of the four types of the absurd man, Meur?
sault lives according to an ethic of quantity, "au contraire du saint que
tend vers la qualite."9 It can be objected, of course, that Meursault is
neither a Don Juan, nor a conqueror, nor an actor, nor a creator, and
that his experiences in Part i are hardly worth making a fuss about. But
that is just the point. In a world in which everything and everyone is
privileged and therefore equivalent, smoking a cigarette and clipping
mineral salts advertisements rank with the ecstasy of loving, or reading
In an absurd world not only all sensations, but all acts
Shakespeare.
are equivalent. Writing a letter for a pimp who wants to punish a cheating prostitute-mistress is no better and no worse than any other act,
including marriage. No hierarchy of values exists in a world in which one
can deny anything but "ce chaos, ce hasard roi et cette divine equivalence qui nait de l'anarchie."10
In Part i Meursault is surrounded by what Camus calls "[des] murs
disappears, only to return during the trial. She sits opposite Meursault
at Celeste's restaurant: "Elle avait des gestes saccades. . . . Elle s'est
assise et a consulte fievreusement la carte. . . . Elle . . . a commande
immediatement tous ses plats d'une voix precipitee ..."
She takes out
a radio program twelve pages long and checks every single program
listed. She finishes her meal. "Puis elle s'est levee, a remis sa jaquette
avec les memes gestes precis d'automate
et elle est partie. . . . J'ai
The word bizarre appears two or three
pens6 qu'elle etait bizarre ..."
times in this novel: the first time, it is used by Marie to describe Meur?
sault, two pages before the appearance of the odd lady. In an author as
? Le Mythede Sisyphe,pp. 88, 100-101. Camus had already remarked 86) that the
(p.
absurdhero "par la simplequantite*
des experiencesbattraittous les records."
10Ibid., p. 73.
u Ibid., 24.
p.
Carl A. Viggiani
881
trap as neatly laid as the one that finally brings CEdipus to the crossroads before his return to Thebes. The murder of the Arab is what Camus
calls a "meurtre de fatalite."12 What precedes the shooting is natural
and logical; whyit should terminate in murder remains a mystery that
Camus does not try to explain, except by symbolic representations of
unknowable forces. Similarly in the CEdipus story: up to the meeting at
the crossroads everything is understandable.
Why, however, CEdipus
should be there at the precise moment when Laius goes by is unfathomable.
The murder episode has puzzled and annoyed many readers: they
12"Un
il ne sauraitrede Pid6e de l'absurdeadmetle meurtrede fatalite",
espritpe*n6tr6
cevoira aucun titrele meurtrede raisonnement"("Le Meurtreet l'absurde," Empedocle
[avril1949],p. 22).
882
Camus'
"VEtranger"
have either declared the act unmotivated or tried to find some rational
psychological motive to explain it. The truth may be that we ask the
wrong question when we ask, "Why did Meursault kill the Arab?" and
that it would be more worth while to ask, "What does the murder mean?"
Camus, one of the most self-conscious and intelligent writers of our
times, was certainly aware of the mystery that surrounds the murder.
He could easily have chosen, for example, to make Meursault kill in
obvious self-defense. But he did not. Instead, at the moment of the act
he blinded both hero and reader in an explosion of metaphors. (After
using only fifteen metaphors in eighty-three pages Camus uses twentyfive in four pages.)13 It is a hallucinatory and cataclysmic event that
takes place: time stops, the world shakes, the sky opens up and rains
down fire. After eighty pages of plain prose, Camus suddenly resorts
to poetry because in the confrontation with death the hero encounters
what is for Camus the ultimate mystery of the universe.
If one asks, "Why did Meursault kill the Arab?" only one answer is
possible: because of the sun, the answer given by Meursault. Chance
brought him to the beach on that particular day and the sun made him
pull the trigger. If one asks, "What does the murder mean?" then a
different order of answers can be found, in the context of the novel as a
whole as well as in the context of Camus' thought and works in general.
In terms of the structure of the book, it means that the climax has been
reached; everything that precedes prepared the act, and everything
that follows is an epilogue?a
judgment (the trial episode) and an
Carl A. Viggiani
883
criminal mind.) Why Meursault kills and why he dies remains a mys?
tery, however, just as for Camus, the universal and eternal murder of
men, i.e., the reality of death, is a humiliating and incomprehensible
phenomenon. In social terms, for Camus, murder, or death, is the door
through which man enters history. Without death there would be no
la fugacite, la mort se manifestent dans
human history: "L'injustice,
l'histoire. En les repoussant, on repousse l'histoire elle-meme" (VHomme
revolte, p. 357). The same idea is expressed in the Lettres a un ami allemand, written shortly after VEtranger: "Mais vous avez fait ce qu'il
fallait [the Germans went to war], nous sommes entres dans PHistoire"
(p. 80). In other words, without death men would simply be part of an
eternal natural order; with death and the awareness of death human
884
Camus'
"UEtranger"
for the accused: "Moi, j'ai pens6 que c'etait m'ecarter encore de 1'afTaire,
me reduire a zero et, en un certain sens, se substituer a moi" (p. 147).
He begins to feel at home in his prison cell, something he could not do
in his apartment. He even feels that he could easily live in the trunk of
a tree. As time?called
"[le] pire ennemi" in Le Mythe de Sisyphe?
begins to thin out in the structure of the book, he literally kills it in
prison by losing his sense of time. With his growing ability to see things
under the aspect of eternity, time evaporates. Reflection, however, is
accompanied by the development of feelings which, up to the murder,
Meursault had not experienced. He says of his attorney: "J'aurais voulu
le retenir, lui expliquer que je desirais sa sympathie, non pour etre
mieux d6fendu, mais, si je puis dire, naturellement" (p. 95). He has
Carl A.Viggiani
885
completely.
Meursault's
speculations
on death and
886
Camus'
"UEtranger"
the meaning of life, and his final rejection of divinity constitute the bulk
of the last chapter. Some of the things he has learned are among the
commonplaces that Western tragedy has exploited since they were first
expressed in Greek tragedy. There is no way out, there is no escape from
"la mecanique," there is no "saut hors du rite implacable."
We are all
condemned to death, and yet there is no more important event in a
man's life than death: "rien n'etait plus important qu'une execution
capitale ..."
(p. 155). There is no God. Life has no transcendent mean?
is
and
it
not
worth living, but it is all that we have; the only worthing,
while afterlife would be one in which life on earth could be remembered.
If these truths hold him and others prisoner, he in turn possesses them:
"Mais du moins, je tenais cette verite autant qu'elle me tenait." In this
paraphrase of the Pascalian dictum the novel and the career of the hero
express their final meaning. The mood of the last page is tranquil. Having
discovered the link of solidarity with all men?death?Meursault
opens
up "pour la premiere fois" to the tender indifference of the world: "De
l'eprouver si pareil a moi, si fraternel enfin, j'ai senti que j'avais ete
heureux, et que je l'etais encore" (p. 171). Through death he breaks
out of the "murs absurdes," and is no longer a stranger. The "je l'etais
encore," as Camus would put it, echoes the "All is well" of Greek
tragedy. Murder, injustice, condemnation to death, lucidity: this is the
route of Camus' tragic hero, whose career, in its understated, plebeian
way is patterned after that of tragic heroes of antiquity. The fate of
Meursault is the universal condition of men, whose history is precisely
death, injustice, and their awareness of them.
The novel ends with what seems to be a paradox. Having finally experienced the tender indifference of the world and discovered his bond
with men, that is, having finally experienced love, in his last sentence
the hero expresses the hope that crowds of spectators will witness his
execution and greet him with cries of hatred. This does not make sense
unless it is seen in the light of the concept of the homme-dieu that Camus
defines in Le Mythe de Sisyphe. By the end of the novel, Meursault is an
homme-dieu: to use Camus' terms, he has been duped (the trial), will be
"crucified" (the guillotine), he does not serve an immortal being, he has
denied (killed) God, and thus become God himself, he is persuaded of a
death without an afterlife, and thus he has realized the life eternal of
which the Gospel speaks.20 His death, like Kirilov's suicide, will be a
pedagogical act. "Kirilov doit done se tuer par amour de l'humanite. II
doit montrer a ses freres une voie royale et difncile sur laquelle il sera
le premier "{Le Mythe de Sisyphe, p. 147). But this is also the role of
soSee the
Carl A. Viggiani
887
another sacrificial hero, the Dieu-homme who dies for the love of men and
who, by his death, shows them a new path. And it is Camus who reveals
the connection between the two figures. Christ, he says, is in a sense (if
there is no Paradise) "celui qui a realise la condition la plus absurde.
II n'est pas le Dieu-homme, mais l'homme-dieu"
(p. 145). Essentially,
like
And
fate
that
of
it
is
his
is
Meursault.
then,
only this essential similarity that can explain the last words of VEtranger. We are invited, in
other words, to recall the last moments of the Christ, whose crucifixion
was preceded by cries of hatred from the crowds. This is the consummation of the homme-dieu's career, Meursault's as well as Christ's. Through
his death, Meursault gains and exemplifies a new vision of life, indeed
a new life. And either consciously or unconsciously, Camus, in the last
paragraph, alludes to the notion of rebirth in death when he has Meur?
sault say, "Si pres de la mort, maman devait s'y sentir liberee et prete a
tout revivre." This is precisely how Meursault feels. Thus Camus was
not being as paradoxical as he claimed when he wrote: "II m'est arrive
University
Middletown,
Conn.