It is also extremely important to note that ironically, Bigger uses his knowledge of how white people think of him to his advantage. Therefore, he believed that he could persuade the crowd by using reasoning.
This quote conveyed that Brutus loved Caesar, but he loved Rome more and that Caesar needed to be killed because he became too ambitious. Additionally, Brutus wanted the people to know that he loved Caesar by stating that he was very valiant and honorable. Meursault does not have the capability to engage in relationships with people. Their relationship is considered unorthodox because Marie loves Meursault, but Meursault is indifferent about their relationship.
As a result of him being convinced that his wife has been disloyal to him, Othello acts out in arbitrary manners out of anger and disappointment. This conveys how easily fooled and hypnotized by jealousy Othello can become and the means in which he allows it to take….
Due to the fact that he murdered an innocent person just so that his prophecy will become true makes him realize that he will suffer from agonizing pain. It shows her loyalty to Desdemona. She told Desdemona if she really did cheat than Othello should look at himself and wonder what he did wrong to make her want to cheat. Emilia is saying that men should love their wives and be trustful in order to keep them from cheating on them.
This is shown through his wails of the voices telling him that he would never sleep again; one can assume that they are an embodiment of his guilt. Getting this kind of vibe, as a reader, could make anyone want to never put the classical novel down. The ideas written in the book are intriguing and interesting to study and think deeply about, considering that Meursault is such an ordinary character but different in a way only the readers could possibly connect to.
The author brings to notice that Meursault is different from society, an outsider and an alien. Camus shows that Meursault is different from society emotionally, has no meaning in life, and certainty of his own death. Citations: Brombert, Victor.
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Like many legendary heros, Sisyphus struggled and, if myth is to be believed, continues to struggle against the will of the gods themselves. Sisyphus sought eternal life by challenging Death and Hades, and so was punished with ceaseless, meaningless toil, by having to push a boulder up a hill only to watch it tumble back down again, for all eternity.
The primordial authority of the Olympian gods bore down on Sisyphus, and to some extent, he had no power but to submit; but even in the hopelessness of this unending torture, there remains the possibility of transcendence:. The lucidity that was to constitute his torture at the same time crowns his victory.
There is no fate that cannot be surmounted by scorn… if the descent is thus sometimes performed in sorrow, it can also take place in joy. If Sisyphus were but a disembodied soul, there would be no suffering. But we imagine him as an aching and ancient man, toiling in the mud and filth for all eternity.
We imagine him as conscious of his suffering; but if one is conscious of his suffering, surely he can choose to be conscious of something else instead. And there is no scorn so cutting and permanent as heroic joy.
In a world without gods, in which human experience reigns as the sole transcendence, heroism is defined not by a scorn for the will of the gods, but instead by a scorn for the machinations of man and for the contingency of the universe. With this established, Meursault is the realization of an absurd hero. The absurd swirls around Meursault as it does us all, lurking beneath our glib rationalizations.
For instance, we grind our noses against the absurd in the nauseatingly alien moments of semantic satiation, where the meaningfulness of the arbitrary structures of grammar and language collapse through the repetition of words.
We also face the absurd in those uncomfortably inexplicable but thankfully momentary experiences of disembodiment. Only consciousness can offer the awareness of the absurd — thereby creating absurdity; and once experienced, it can never be forgotten. Death is the supreme symbol of the absurd, since death represents both the cessation of consciousness and an unknowable phenomenon. It is in the depths of the struggle against absurdist death that we find Meursault at the end of The Stranger.
The crime that has led him to the guillotine was pointless, insofar as we can tell: he has murdered an Arab, but not out of passion or spite, nor even bloodlust. The act was contingent upon nothing but the bright sun. It simply happened. It was an absurd act. Of course, human law cannot comprehend this.
For the legal system, crimes must have intent; there must have been a motive. So as a matter of course, Meursault is justly condemned by this institutional reaction to the absurd.
He is sentenced to death, the most severe punishment allowable by law. The absurd has ensnared Meursault, just as it did Sisyphus, snatched from the sea and sand to his toilsome stone. Led to his cell, Meursault is expected to either repent and surrender to the whims of man, or suffer in terror until the drop of the blade. This expectation is predicated upon both his consciousness of experiencing imprisonment and an expectation of a consciousness of fear, to be terminated by his death.
And for a time it works as intended: Meursault quakes in his bunk each morning, awaiting the heavy footsteps of the guard coming to take him to his end. Meursault was content with the pleasures and passions of his world.
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