The Stranger The Wall

Diep !1 Taryn Diep Mrs. Morris AP English Literature and Composition 25 February 2019 Authentic Acceptance The Stranger by Albert Camus and “The Wall” by Jean-Paul Sartre, two of the most distinguishable works of existentialist literature, impeccably opens readers to to the captivating yet bewildering concepts of existentialism. Although the overall significance of these two literary works are virtually very similar, the two authors, through the protagonists of their works, express this significance in two very different and distinct manners. The two authors’ philosophic beliefs and expression of these beliefs through their characters, although immensely different, lead to a common concept. Through the thoughts and actions of the protagonists as they face pressing circumstances, the authors are able to subtly express that the events of a lifetime are essentially irrelevant, and only through accepting death can one be able to truly live life authentically. Emerging from different mindsets, the protagonists from the two stories initially view and treat the concept of death and transience in different ways, but eventually merge together in their realizations. Meursault, as revealed during the funeral of his mother, originally believes that “there [is] no way out” of the harsh reality of life and the notion of human existence (Camus, 29). Contrastingly, Pablo, up until his realization, believes that he has been “[spending his] time counterfeiting eternity,” essentially, trying to cheat and escape death (Sartre). However, they both come to a mutual realization through their respective incarcerations about the

Diep !2 meaninglessness of their lives. Meursault, after pondering back and forth about if he truly cared about the subject of dying or not, reaches this awareness by accepting “the gentle indifference of the world.” (Camus, 154) Similarly, Pablo comes to recognize that he “[has] lost the illusion of being eternal,” and stops trying to escape death, and instead, willingly accepts it (Sartre). These realizations mark the beginning of their transformation into living their true authentic lives. The most obvious difference between these two literary works is the factor that the environment plays in them. In The Stranger, Meursault is overcome by the forces of nature, and at times, the environment surrounding him even appears to control his actions. However, on the opposite side of the spectrum, in “The Wall,” Pablo does not seem to be affected by, or even seems to notice, the deadly, chilling temperature of the confines that he is trapped in. Meursault’s only way of connecting with the physical world is through his understanding and observations of his environment, while Pablo begins to transcend his environment by growing to become essentially immune and detached to it. Gradually through the short story, Pablo becomes more accepting of his impending fate that is a direct result of the crimes that he has committed, and is then able to disconnect from his own physical body and surpass the physical effects of the minuscule confines of his environment. In this case, his immunity to the harsh cold weather is characterized by his being “drenched in sweat.” (Sartre) In this cellar, in the midst of winter, in the midst of drafts, [he] was sweating.” and therefore marks the beginning of his “freedom” from suffering (Sartre). However, Meursault allows himself to be puppeteered by the heat and glare of the sun, calling it “inhuman and oppressive” and is controlled by it in the most crucial of situations, including moments where he shoots the Arab and when he is permitted to answer questions in his trial (Camus, 27). During those events, Meursault has not yet accepted that he

Diep !3 was bound to die; however, upon reaching this acceptance at the very end of the work, he is able to transcend from the grasps of control and achieve contentment and serenity. Although the two protagonists have different reactions to their respective environments, only through their acceptance of their impending death are they able to push themselves further and live “free” and authentic lives. Camus’ belief in the absurdity of life and Sartre’s belief in the idea of existentialism is also a driving factor in these works and their overall meaning. In The Stranger, no matter what Meursault does and no matter the events that occur in his life, he simply cannot find a purpose in life and rejects all of the opportunities that are handed to him because of his inability to comprehend. Eventually, in true absurd fashion, he decides to accept the consequences of his previous actions and accept the death that comes with it by “[laying his] heart open to the gentle indifference of the world.” (Camus, 154) He is only able to “[feel] that [he had] been happy, and that [he] was happy again” by his acceptance of the meaningless nature that his life holds. (Camus, 154) Contrastingly, Sartre has a different philosophy, but eventually reaches the same internal concept. In “The Wall,” Pablo also believes in the sheer meaningless of life, but he feels the urge to pave his own path and create his own purpose. Sartre utilizes the existentialist concept of “radical free will” by portraying that Pablo has the option to save himself and instead and sacrifice Ramon. However, he instead chooses to lie and fully accepts the consequences that would come with that decision, because he believed that either way, a person was going to face his demise. By accepting his doom, he is able to live his life truly authentically, is rewarded with his life, and is even able to transcend above his physical environment and become a completely new person with a new sense of understanding. Pablo himself even states that since his time in

Diep !4 the cell, he could no longer recognize his own corporal body. Although he could “[see] with its eyes, [and hear] with its ears,” he still felt that his own body was “no longer [him].” (Sartre) Since he accepts that life does not hold any sincere purpose and accepting what he has done, the world rewards him by the ironic nature of the ending. The Stranger by Albert Camus and “The Wall” by Jean-Paul Sartre, although written from different philosophies, ultimately come together to connect in overall meaning. The foundations for each of the stories and the way that the author chooses to portray them are immensely different, but in the end, the same meaning can be discovered. Although the two protagonists of the stories were vastly different, from their stories, the reader can discern that the events of life have no actual importance, and only by accepting the idea of death can one truly fully be able to live authentically.

Diep !5 Works Cited Camus, Albert, and Stuart Gilbert. The Stranger. New York: Vintage Books, 1954. Print. “The Wall (Short Story) 1939 | Jean-Paul SARTRE.” The Wall (1939) | Jean-Paul Sartre, chabrieres.pagesperso-orange.fr/texts/sartre_thewall.html.