Victims of Society in The Outsider and Antigone
Both Meursault and Antigone are the protagonists in their stories.
They have much in common, such as the fact that they explain their
impending deaths as decided by fate, even though each seems to have an
easy way of surviving. Both are willing to die for what they believe
is right. The concept of fate is quite different between the texts. In
Antigone, a Chorus tells you at the beginning of the play that
Antigone will die. Antigone uses the excuse of fate to explain her own
death to Creon, where as in The Outsider fate is much more subtle.
First I will look at The Outsider and Meursault. Albert Camus wrote
this novel as a challenge against the death penalty and the society
that imposes it. It reflects his existential philosophy including how
we do not trust people that are different, that society would rather
hear lies then the truth if the truth makes them uncomfortable, and
that people with different views to the majority are persecuted.
Camus' choice of Meursault, an unusual person, who does not 'play the
game', enables him to demonstrate this argument.
Meursault's first words are 'Mother died today.' He is very quiet and
detached and likes to observe events around him like a spectator,
regardless of their importance to him. At his mother's funeral, he
does not cry, he smokes and drinks coffee, and this turns out to be
the reason for his execution. It may appear that the fact that
Meursault is killed because of the way he acts at his mother's funeral
is a sign of hubris, much like Creon's in Antigone, who does not
respect Polynices' death properly.
Camus shows us Meursault's philosophy is a hedonistic one; he acts
like each day is his last. His bo...
... middle of paper ...
...ne's destiny is argued by all the individual characters, each
arguing only for the side that benefits themselves. The Chorus argues
for fate to justify it's existence, Creon argues for it to justify his
decision to have Antigone executed, Heamon argues against it because
he wants Antigone to live on.
These two stories rely on inevitability to draw attention away from
the storyline, and bring the focus onto the issues they raise. Camus
wished to persuade people that the death penalty was unjust and wrong,
while Anouilh wanted to encourage a sense of rebellion among the
people of occupied France during World War 2. In The Outsider and in
Antigone both of the main characters believe that they are destined to
die, becoming martyrs for their author's causes.
Bibliography
============
Anouilh, Jean - Antigone, 1944
Camus, Albert - The Outsider, 1942
Meursault resists being typecast into an archetypal moral category in many of his deeds and actions. Many of his actions in Part One of the novel help contribute to the fuzzy picture of the character. For example, at his mother's funeral, Meursault does not cry or weep in the typical mourning fashion, but rather sleeps during the vigil and entices one of the other mourners present to smoke a cigarette with him. This would be typically considered "evil" behavior, in the context of the story. He could easily been seen as disrespectful and seditious toward his mother and the established procedures of mourning, which seem to be fairly definite at that era in France. However, this "evil" mold can easily be shaken if one considers that Meursault may be more shaken than anyone else present at the funeral. Considering the other events in the novel, it seems as though he does not have a large capacity for emotion. Based on this, it is not unreasonable to assume that the events leading up to and including his mother's death may have overtaxed his limited scope of emotion, and he was therefore nearly incapable of mourning in the "normal" or expected way for his mother, but rather had to resort to his own, more c...
In the Antigone, unlike the Oedipus Tyrannus, paradoxically, the hero who is left in agony at the end of the play is not the title role. Instead King Creon, the newly appointed and tyrannical ruler, is left all alone in his empty palace with his wife's corpse in his hands, having just seen the suicide of his son. However, despite this pitiable fate for the character, his actions and behavior earlier in the play leave the final scene evoking more satisfaction than pity at his torment. The way the martyr Antigone went against the King and the city of Thebes was not entirely honorable or without ulterior motives of fulfilling pious concerns but it is difficult to lose sight of the fact that this passionate and pious young woman was condemned to living imprisonment.
In The Stranger, Albert Camus describes the life of the protagonist, Meursault, through life changing events. The passage chosen illustrates Meursault’s view during his time in prison for killing the Arab. In prison, one can see the shifts in Meursault’s character and the acceptance of this new lifestyle. Camus manipulates diction to indicate the changes in Meursault caused by time thinking of memories in prison and realization of his pointless life. Because Camus published this book at the beginning of World War II, people at this time period also questions life and death similar to how Meursault does.
Heroism entails several things; a selfless act, courage, or the accomplishments of bold and daring expeditions. A hero can also mean courage in the face of death. Others may view this type of hero as stupid, or a martyr. Every hero has faults and these faults along with heroic deeds make the man or woman; a hero, heroine.
The protagonist, Meursault, was interesting character. His ideas and beliefs seem to point to a time when there is no hope to be had. Although he is able to accept the fact that everyone dies and in so doing realizes that you can live better. He lives a controlled life in which he takes responsibility for all of his actions. This is a direct reflect of Camus personal beliefs about absurdism.
Glorified overeating. Two words that together create the ultimate oxymoron, in a society obsessed with body image. Adam Richman, the host of the popular television program Man v. Food, is showing his viewers the sport in eating. Each episode this attractive and far from obese man eats a humanly impossible quantity of food. The feat quickly escalates into a spectacle, with chanting fans and opponents salted and deep-fried. The spectacle of overeating has been transformed into a sport and one celebrated by the media.
The emotionless anti-hero, Monsieur Meursault, embarks on a distinct philosophical journey through The Stranger. Confident in his ideas about the world, Meursault is an unemotional protagonist who survives without expectations or even aspirations. Because of his constant indifference and lack of opinions about the world, it can be denoted that he undergoes a psychological detachment from the world and society. It is through these characteristics that exist in Meursault that Camus expresses the absurd. Starting from the very first sentence of the book, “Maman died today. Or maybe yesterday, I don’t know.” (Camus 1) The indifferent tone from these short sentences convey a rather apathetic attitude from Meursault’s part. Not only does he not feel any sorrow, he also “felt like having a smoke.” (Camus 4) Communicating perfectly Meursault’s disinterest, “[he] hesitate, [he] didn’t know if [he] could do it with Maman right there. [He] thought it over; it really didn’t matter.” (Camus 4) The death of his mother prompts an absurdist philosophy in which he experiences a psychological awakening and begins to place no real emphasis on emotions, but rather on the physical aspect of life.
In the play Antigone, Sophocles proves to be trailblazing playwright because of Antigone’s role as a defiant woman, Antigone’s rebellion against Creon’s law, and Haemon’s fight for her liberty. Antigone sets high morals for herself and by these actions, proves her point to the King. Creon displays his aggressive and misogynistic views to Antigone, threatening to take her life if she does not obey him. In return, Antigone shows she and Ismene deserve the right to bury their brother Polynices; she stands strong in the face of death, knowing that the gods’ words were greater than a mere king’s. Sophocles is thus proven as a trailblazing playwright because of how he takes the role a woman and uses her to emphasize women’s power and authority in
In Sophocles' most famous Theban play consisting of two parts, "Oedipus the King" and "Antigone", both parts are necessary in understanding some of the things that happened around them, and what type of man had raised Antigone. She is the main character in the play of “Antigone”.
In the story of Antigone, Oedipus has already died, his two sons. Polyneices and Eteocles, left to contend for the throne of Thebes. In their contention for the throne, the two brothers slay one another, leaving Creon once again to be the acting regent of Thebes. With this power, Creon declares that Polyneices must be left to rot on the battlefield, the highest disgrace to any Greek. Antigone, daughter of Oedipus, is left torn between state of family, and in the end, chooses family over state. Disregarding Creon 's edict with grave danger to herself, Antigone ventures to bury the body of Polyneices, and thus begins her adventure. Antigone is truly a tragic hero, marked by her station as son of Oedipus, and her proud and perhaps arrogant
The trial and conviction of Meursault represents the main ideals of absurdism, that truth does not exist, and life is precious. The jury’s attempt to place a proper verdict on Meursault is compared to mankind’s futile attempt to find order in an irrational universe. Because there is no real truth in the trial, the verdict was unfair and illogical. Camus uses his beliefs of truth not existing and life being precious to point out the absurdity of the judicial system, and suggest the abolishment of the death penalty.
The Tragic Play Antigone by Sophocles has a Conflict between religious morals and loyalty to the state and its laws. This struggle is displayed through the characters Antigone and Creon. Antigone’s life meets a tragic end in the play, but her death makes her a martyr leading to the citizens to follow her view of religion.
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.
Antigone uses the concept of death in many ways when unfolding the tragic story of Antigone and her rebellion. The most obvious way is how death is used as a form of capital punishment and justice against state-dubbed criminals and wrongdoers. The play first exhibits this notion when Antigone states, “No passing humor, for the edict says who’er transgresses shall be stoned to death” (Sophocles, p. 3). The head of the state, Creon, uses death as a form of justice for the man or woman who is to disobey his law. Creon also emphasizes this by threatening a guard when he is notified that his edict has been violated. Creon states, “Go, quibble with thy reason. If thou fail’st to find these malefactors, thou shalt own the wages of ill-gotten gains is death” (Sophocles, p. 8). Death is once again used as a threat and form of justice for people sinning against the state laws. However, death is not only used as a form of state justice, it is also portrayed as a factor in personal justification and completion. The notion that people are not whole or justified until they die is emphasized by Antigone when she states, “A sinless sinner, banned awhile on earth, but by the dead commended; and with them I shall abide for ever” (Sophocles, p. 4). Antigone says that through death, human life is justified and made complete, and that death is essentially the final form of justice for any human l...
Violence can be interpreted in many ways, one being by "Physical force intended to hurt, damage or kill someone" or "the unlawful exercise of physical force or intimidation by exhibition of such force"(Oxford Dic), in Antigone both of these definition of violence was used both in unlawful practices and at the tragic ending.