The Sun Motif in The Stranger
Many artists, authors, and composers have put the beauty and warmth of the sun in their work. The Dutch painter Vincent van Gogh created landscapes that expressed his joy with bright sunshine. The American poet Emily Dickinson wrote a poem called "The Sun," in which she described the rising and setting of the sun. The Russian composer Nicholas Rimsky-Korsakov included a beautiful song, "Hymn to the Sun," in his opera The Golden Cockerel.
Uniquely, Camus' usage of the sun opposes its warmth and beauty in The Stranger. The sun is a symbol for feelings and emotions, which Monsieur Meursault cannot deal with. There is a sun motif present throughout the novel, which perniciously characterizes the usual fondness towards the sun. The sun is a distraction from Meursault's everyday life and he cannot handle it.
The sun first presents a problem to Meursault at his mother's funeral procession. Even before the procession embarks, Meursault remarks of the sun, calling it "inhuman and oppressive." Meursault has shown no emotion towards his mother's death and he directs his bottled-up anxiety at the sun. To Meursault, the sun is an influence on all his senses, as he cannot hear what someone else says to him. He pours with sweat, symbolizing the flow of emotions. Meursault constantly thinks about the sun when one would expect him to be mourning his dead mother. He says, "I could feel the blood pounding in my temples," which is strong imagery.
At the beach with Raymond, the sun provokes Meursault to commit a crime. He says, "(the sun) shattered into little pieces on the sand and water." While going to get a drink of water, the foreign Arab uses a knife to shine the sunlight in Meursault's face. Meursault knew that all he had to do was turn around and walk away. His emotions (again not shown externally and reserved) took over. Camus states, "All I could feel were the cymbals of sunlight crashing on my forehead and, instinctively, the dazzling spear flying up from the knife in front of me. The scorching blade slashed at my eyelashes and stabbed at my stinging eyes." This strong imagery forces Meursault to fire and kill the Arab with a revolver. What makes it worse, he fires four more times to make sure the sun is dissipated for good.
In prison, Meursault changes his views on both the sun, and on his view of life, which are similar.
Growing up in the tribe, Geronimo learned his people’s beliefs and customs. They believed in an ultimate power called Usen. As their origin story goes, a young boy was hid away by a painted lady. When he grew up, he went out hunting and confronted a dragon who he then killed. Usen then taught the young boy to hunt and gather medicinal herbs. This young boy’s name was Apache, the founder of all the Apache tribes. (Barrett 3-11) The Apaches also believed in supernatural forces. Sometime...
Poe, Edgar Allan. “ The Cask Of Amontillado.” Heritage Of American Literature .Ed. james E. Miller.Vol.2.Austin:Harcourt Brace Jovanovich,1991.20.Print.
... his mother and the idea of God which is again supported by his close relationships. Those relationships are with people who don’t believe in a higher being or who show no true morals. Camus accommodates white with many objects and people, yet purposely excludes Meursault and refers to him as dark. All of these techniques show Meursault as a nonreligious man with potential to harm without remorse. This leads up to his interaction with light where he feels uncomfortable just as he does with God. Meursault’s history and personality lead up to the murder of the Arab, the distraction of the light, and in the end, accusing God, “the light”, for his criminal behavior. Human nature needs moral standards or the world would be as corrupt as Meursault’s life.
In the same way, the power of society suffocates and confuses Meursault as it bears down on him with its views on morality. The sun is also present at the trial, just as is the force of society which claims to possess the right to judge people. The force of society is absent in the prison, likewise the sun is absent from Meursault's dark cell, and because the overpowering force of society has been removed, Meursault is finally able to "[open himself] to the gentle indifference of the world. " At one point Meursault leans from the window in an attempt to feel the sun's last rays at evening.
Since he cares little for the affairs of the world, claiming they do not mean anything, then justice—a major concern of the world—also means nothing to him. His actions both before and after his decision to kill a man without provocation demonstrate his apathetic view of the world, and his indifference to justice. Therefore Meursault’s search for justice, culminated by the court’s decision to execute him, remains an example to all of the inability of society to instill justice in criminals. Meursault’s perpetual refusal to acquire a sense of morality and emotion instigates skepticism in all who learn of his story of society’s true ability to instill justice in the
False memories being created is obvious through many different ways, such as eye-witness testimonies and past experiments that were conducted, however repression is an issue that has many baffled. There seems to be little evidence on the factual basis of repressed memories, and many argue that it does not exist. The evidence for repression in laboratories is slowly emerging, but not as rapidly as the evidence for false memories. It has been hard to clinically experiment with repressed memories because most memories are unable to be examined during the actual event to corroborate stories. Experimenters are discovering new ways to eliminate this barrier by creating memories within the experiment’s initial phase. This is important for examining the creation of false memories during the study phase. This research study will explore the differences between recovered memories and false memories through research and experiments. Other terms and closely related terms will be discussed, while examining any differences, in relation to repressed memories. The possibility of decoding an actual difference between recovered memories and false memories, through biological techniques. Because false memories can be created, examining these creations in a laboratory setting can shed light on facts overlooked. Exploring these issues will also help with the development of better therapeutic techniques for therapists in dealing with memories. This can lead to an easier process for patients and therapists if they must go through the legal system in relation to an uncovered memory.
There was a very notable instance in The Stranger where Meursault chose to stay out and walk back to the spring to cool off, albeit the fight earlier with the “two Arabs in blue dungarees.” (Camus 35) The heat was nearly unbearable for Meursault and had worn him out. When Meursault reached the spring, he encountered the Arab again, particularly the brother of Raymond’s mistress. The Arab approached Meursault and “drew his knife and held it up to [him] in the sun.” (Camus 38) Meursault’s uncomfortableness grew and “[his] whole being tensed and [he] squeezed [...
In the novel, we are given a more complete view of Meursault. The story is told from his point-of-view, which allows us to understand the situation as Meursault perceives it. Looking at the situation in this light, we can see Meursault as not evil, but simply indifferent and detached from life. He doesn’t attempt to get wrapped up in emotion or relationships, he just takes things as they come, doing whatever is easiest for him. He becomes friends with Raymond and agrees to marry Marie simply because he doesn’t have a very good reason not to. Seeing the story from Meursault’s viewpoint, we understand that even killing the Arab wasn’t an act of malice or evil intent. As Meursault puts it, “My nature is such that my physical needs often get in the way of my feelings.” With this in context, things begin to make more sense. Meursault’s seemingly cryptic statement that he murdered the Arab “because of the sun” can be taken as truth. Meursault does things that society judges as wrong not because he is evil or wants to appear immoral, but because the sun and heat, symbols for Meursault’s emotional state, cause him to become uncomfortable and act “inappropriately.
Finding Enlightenment in the Dark: An analysis of light in Camus’s The Stranger. In The Stranger, the protagonist Mersault becomes ostracized from his society due to his emotional separation and unwillingness to play by societal rules. His continual apathy and expression that everything “didn’t matter” eventually led to his death sentence (8). Mersault focuses on his physical surroundings, commenting on the light and the heat around him. He perceives the world through his senses, not through his emotions.
Randolph, A R. "Before Roe V. Wade: Judge Friendly's Draft Abortion Opinion." Harvard Journal of Law & Public Policy. 29.3 (2006): Print.
During the first half of the novel, we see many examples of Meursault’s freedom and how he exercises it. He does what he wants, when he wants to with no regard to how he affects the people around him. Meursault lives his life with no restrictions. He is his own boss. Relaxed and free.
Poe, Edgar Allan. “The Cask of Amontillado.” The Compact Bedford Introduction to Literature. Ed. Michael Meyer. 8th ed. Boston: Bedford/St. Martin’s, 2009. 553-557.
Camus’s motif of the sun illustrates Meursault’s emotions as he approaches the Arab, the sun’s rays separating Meursault from reality. “I knew that it was stupid, that I wouldn’t get the sun off me by stepping forward” (59). Yet after he utters this statement he takes another few steps forward. This sets the stage for the climax of Meursault’s murder of the Arab. More than anything the sun is depicted as a distraction to Meursault. It causes him to do things he would not normally do and clouds his judgment, causing him to commit a serious crime which will cause his own death. The sun is in a way a representation of the constraints society places upon Meursault. The effect the sun has on Meursault that results in death is a parallel to the effect of society on Meursault, which also results in death.
Senanayake, Pramilla, and Karen Newman. "The Politics of Abortion in the Modern Age." Conscience 23.3 (2002): 12. ProQuest.Web. 27 Feb. 2014.
Camus writes in a simple, direct, and uncomplicated style. The choice of language serves well to convey the thoughts of Meursault. The story is told in the first person and traces the development of the narrator's attitude toward himself and the rest of the world. Through this sort of simple grammatical structure, Camus gives the reader the opportunity to become part of the awareness of Meursault. In Part I, what Meursault decides to mention are just concrete facts. He describes objects and people, but makes no attempt to analyze them. Since he makes no effort to analyze things around him, that job is given to the reader. The reader therefore creates his own meaning for Meursault's actions. When he is forced to confront his past and reflect on his experiences, he attempts to understand the reasons for existence. At first, Meursault makes references to his inability to understand what's happening around him, but often what he tells us seems the result of his own indifference or detachment. He is frequently inattentive to his surroundings. His mind wanders in the middle of conversations. Rarely does he make judgments or express opinions about what he or other characters are doing. Meursault walks through life largely unaware of the effect of his actions on others.