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... in. No one at all had any right to cry over her; it is rather a painful imposition of indifference on ones own self to counter the benign indifference of the outer-world. Sartre points out, in his critical essay on The Stranger, how the short un analytical, descriptive phrases in the narrative, express linguistically, a compellingly drab monotony. Jean-Baptist Clarence in The Fall (1956) is Camuss fictive alter-self, rendering an almost naturalistic self-confession.
Revolving around a former lawyer from Paris, living in personal exile due to self-hatred, The Fall is a tale of a mans guilt for not acting, while The Plague is a story of action against the odds. Camuss two plays -- -Cross-Purpose & Caligula deal with the same dark riddle of life, told by an idiot & perhaps thus so hostile to the pre-decided yardsticks of moral and emotive codes. This is happiness: this intolerable release, this universal contempt, blood, hatred all around me, the unique isolation of the man who all his life knows the boundless joy of the unpunished killer... this ruthless logic that crushes human lives... These words, mouthed by Caligula in the play, underscore the very pensive vacuity of existentialist revelation which is also its only solution. And this void can only set in once there is a definitive quest for happiness in life.
It is this frustration which would also enhance the penchant for the quest. Caligula offers some explanation to his mistress, Caesonia, as he strangles her. It remains a question, however, whether too unstable to commit suicide, Camuss character forces others to kill him or not. Camuss 1951 -work The Rebel, which is written in the vein of political contemplation, defines his subjective perception of revolt, distinctively different from revolution, as a peaceful evolutionary procedure. Camus asserts in a tone of gong-like proclamation -- -Every revolutionary ends by becoming either an oppressor or a heretic. In course of it, he also introspects the realities of Capitalism unequivocally -- -The society based on production is only productive, not creative.
Coming back to the existentialist argument, Camus denies disdainfully, the notion of Re-incarnation, based on the pangs of the first birth itself -- -In order to exist just once in the world, it is necessary never again to exist. We find, as it were, one identical nuance in Jibananada Dass Unishho Chhechallish-Shatchallish, where the master observes, out of that same moral gloom -- -Mritera e prithibite phone na kokomo / Mritera kota nei; ache? /Kono kono aghraner page pay chari kara santa mauser / Hridayer page chart mritera kota nei bole mone hoy. Another poem of the great poet, which readily strikes in its existentialist perceptions, is At Bachhar Ager Edit where user guitar moto kono ek nistabdhata symptomatizes one of those unread & perhaps even unreadable impressions of the absurd universe. The line where the poet compares his existence to that of a corpse, lying on the table of the dissection-room & the much celebrated lines- Artha noy, kit noy, shachhalata noy-/Aro ek bianca bushman /Amateur antar gata rate bhi tare / Khela kare poignantly echo the absurdist visions of Albert Camus. James Joyce, one of the most powerful literary personalities in the world of modern fiction also identifies with certain basic existentialist principles like the idea of existential freedom which finds expression in his The Portrait of the Artist as a Young Man (1916) through the aesthetic credo of its protagonist Stephen Deadalus.
The Stream of Consciousness mode itself, in its muddled reality, with a defiance of logic, signalizes a victory of the narratives existence over its essence, which chiefly involves chronology etc. Ulysses (1922), in its semantic conception of an absurdist Dublin-microcosm & Finnegans wake (1939), more than anything else, in its distinctively existentialist register of language, style & diction relate to us the same coarse tale of unfailing but cognitively curable human futility; something which Shakti Chattopadhyay captures -- -Na name na code / Him garter bhi tare eka eka / Hard dalpalahin gather jungle / Katha bale much. In correspondence with its philosophy, existentialist language operates in a distinct pattern of its own -- -sometimes deliberately fragmented with a host of punctuations & linkers, often sordidly breathless in un punctuated long sentences, carrying no romantic ennui, but rather a dark dreary dullness, as in Camuss The Outsider. Apart from that, it is an idiom, on its own, bristling with questions & vested with a tentativeness of diction. In The Fall, Camus is frequently found in dilemma about the applicability of certain words & he keeps on using adjacent words on the trot to unveil the idea beneath. This lively tension between the syntax & paradigm of Camuss language evokes Derridas vision of Deconstructive language where sense is differed & deferred all the time & the longing to reach the definitive crux of the signifier-signified bond remains unstinted.
The existentialist syntax tends to become rather marginal stic at times as well. In Camuss The Outsider, at the time of his mothers burial, Meursault seems to pay attention to all those so-called marginalised objects of his thought such as the grave, the priest, the soil, the coffin, its colour, the number of people around etc rather than the rigidly pre-conceived centre of his mothers corpse, her passing away & most conventionally her memories. This centre-margin relativity, expressed in the language itself, is curtly representative of that unbridgeable gap between the paradoxical world without & human judgment within -- -- Between the idea & the reality, between the motion & the act, falls the shadow. According to Albert Camuss argument, in the Aristotelian mode, in The Myth of Sisyphus, if one affirms that everything is true, then he has to affirm the truth of the contradictory statement that everything is false. Thus very cleverly, Camuss discourse, at the very outset, negates all criticism. Therefore, what he says can be neither true nor false.
So let the pendulum hang in the balance & let us put up with the uncertainty, at least, that lurks around -- -- We are not certain, we are never certain. If we were we could reach some conclusions and we could, at last, make others take us seriously (The Fall).
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Research essay sample on Albert Camus Real Existence Or Reality
