The Stranger Themes


The Stranger, with the Myth of Sisyphus (1955; Le Mythe de Sisyphe, 1942), is Camus's great apology for the absurd. Camus himself described it as an "exercise in objectivity, the impersonal working out of the logical results of the philosophy of the absurd." According to Camus's philosophy at this time, life has no meaning; there is no hope for it ever to have meaning. There is no eternity; therefore, all must be done in this life. Indeed, this very thought brings happiness to Meursault at the end of his trial. Passive and indifferent to the forces of life, Meursault exemplifies a life without meaning, an idea that was to attract a world at war, and especially the French people, victims of a humiliating Occupation.

In the midst of this hopeless universe, Camus nevertheless shows a poetic appreciation of the Mediterranean atmosphere in which he grew up. Camus's evocation of the sun at the moment of the murder is lyrical, although it has been judged by some critics as a contradiction to the absurd and indifferent universe created up until this moment. The sea likewise appears in all its sensuality as Meursault and Marie bathe, the symbol also of life, and of evasion. Camus ends the book on a lyrical note, as Meursault, facing a starry night, would be willing to begin life again, and finally feels happiness in his acceptance of the absurd, like Sisyphus, whom, says Camus, one must imagine as happy in the futility of rolling his rock...

(The entire section is 250 words.)

The Stranger Themes

Absurdity is a philosophical view at which one arrives when one is forced out of a very repetitive existence. As Camus says in “An Absurd Reasoning” from his essay collection The Myth of Sisyphus:

It happens that the stage sets collapse. Rising, streetcar, four hours in the office or the factory, meal, streetcar, four hours of work, meal, sleep, and Monday Tuesday Wednesday Thursday Friday and Saturday according to the same rhythm—this path is easily followed most of the time. But one day the “why” arises and everything begins in that weariness tinged with amazement.

This description characterizes Meursault perfectly. The essay collection explained the philosophy of the absurd, and the novel demonstrated the theory.

Meursault’s repetitive life runs smoothly. Then, little by little, Meursault’s happy stasis is pulled apart by the rest of the world’s movement and collapse begins. His mother dies, and with her, a sense of stability he has had his whole life. He becomes involved with Marie, who asks him whether he cares for her and in asking nearly breaches his safe isolation. Raymond insists upon being his friend. Salamano’s dog just disappears, thus disrupting a parallel repetitive rhythm. He shoots a man, and the law demands that he die. Each subtle disruption of Meursault’s desire to be indifferently static brings him to a mental crisis. This crisis is resolved when he comes to understand the utter meaninglessness of his individual life within the mystery of the collective society. The events of his story only make sense that way. Any other explanation leads him to theology—represented by the priest—or fate.

In an expression of Camus’s humanist logic, neither theology nor fate can offer men of intelligence (men like Meursault, willing to use only bare logic to consider the question of life) an explanation for the absolutely senseless things that humans do—war, murder, and other heinous acts. The alternative, therefore, is absurdity. Meursault recognizes the “truth” that life is meaningless. That means life is just what one makes of it while being conscious of two certainties—life and death. In doing so, Camus argues, one would uphold traditional human values because they safeguard one’s life. In other words, human values (what we understand today as “human rights”) lead to the greatest happiness of the greatest number. When one is truly willing to face this Truth, one can be happy. Unfortunately, Meursault is executed before he can live in this...

(The entire section is 1062 words.)