The Stranger #4

Albert Camus emphasizes his absurdist philosophy in the final chapters of his book The Stranger. A resonating theme throughout the novel, the absurdist philosophy plays a special role in Mersault’s final days. Sitting idly by in his cell, Mersault feels completely disinterested by the world, knowing his fate has already been decided. Every attempt he is given to see the chaplain he turns down, until the chaplain comes to visit him. During this visit the chaplain tries to understand Mersault, only to see the conversation turn into a screaming frenzy for Mersault. In a fit of anger, Mersault proclaims, “nothing, nothing mattered and I knew why…throughout the whole absurd life I’d lived, a dark wind had been rising toward me from somewhere deep in my future…what did other people’s death or a mother’s love matter to me” (121). The absurdist philosophy involves the belief that life is meaningless, and the trial helps seal this perspective in place for Mersault. Blindsided by the negligible, idiotic aspects of his conviction, Mersault feels at a total loss with himself and the world. When the chaplain tries to discuss the picture of God, Mersault immediately refutes it. For what, exactly, would God matter to him after the ordeal Mersault has been put through? It is understandable why Mersault would feel the way he does. Camus uses the trial as a building block for his final chapter, for when Mersault announces the absurdist philosophy and for when Mersault proclaims the idiotic aspects of his life that will get him executed. The unlikely result of this situation merely drives the idea home. It is absurd that Mersault is forced to live the consequences of actions that did not in any way shape or form premeditate murder, similar to how it is absurd that Sisyphus is forced to mindlessly push a boulder up a hill that will result in absolutely no redemption whatsoever.

The Stranger #3

Albert Camus’ The Stranger seems to display Mersault’s interest in the physical world, often neglecting or disregarding the social and emotional aspects. This understanding relates back to Camus’ absurdist philosophy, or the idea that life is meaningless in its entities. In these recent chapters, Mersault’s experience in the prison both conveys this message and at the same time denounces it. While sitting in his cell, Mersault begins to dream about some of the very things that bring joy to him, such as nature, the ocean, smoking cigarettes, and having sex. These are merely physical enjoyments, and Mersault has stripped any social or emotional meaning behind them, reinforcing Camus’ absurdist philosophy. Within the first few months, Mersault was “tormented by [his] desire for woman. It was only natural; [he] was young. [He] never thought specifically of Marie” (77). The simple fact that Mersault did not even have the emotions to specifically think about Marie but women in general displays his detachment from society and everything that has emotion and meaning. However, the readers learn later on that Mersault is beginning to understand his feelings due to his confinement in prison: “But at the same time, and for the first time in months, I distinctly heard the sound of my own voice” (81). Considering the mannerisms of Mersault, this is progress. He is finally beginning to comprehend more than just the physical aspects of life, and although the absurdist philosophy still plays a major role, the readers finally get a glimpse at Mersault’s conscience. As the novel nears its end, the path Camus can take to either denounce his own absurdist philosophy or promote it will become an interesting decision.

"Woman Work" by Maya Angelou

Thesis: The apparent shift in the rhythm of the poem Woman Work by Maya Angelou highlights her overwhelming desire to escape the long and gruesome duties of a woman for rest.  

Maya Angelou uses a very specific rhyme scheme in the first 14 lines of the poem but begins to change the nature of the music in the poem at line 15, which consequently displays the woman’s conflicting interests between her desires and the truth. The first 14 lines exist simply to show the constraints and duties of being a woman. For example, in lines 7-10, the speaker notes, “I got company to feed / The garden to weed / I’ve got the shirts to press / The tots to dress”. The repetition of the rhyme scheme is analogous to the repetitive demeanor of the tasks, as this brings attention to the fact that these duties are strictly repetitive and tiresome. The repetition of the word “got” throughout the first 14 lines exemplify the recurring theme of the pitiless tasks, and then Angelou continues to incorporate anaphora by saying “gotta” in line 12 in order to further contrast the woman’s duty to work and her desire to rest. The shift in music occurs directly after the first 14 lines when the speaker says, “Shine on me, sunshine / Rain on me, rain / Fall softly, dewdrops / And cool my brow again” (15-18). As opposed to the original short and choppy tasks presented in the beginning half of the poem, the second half differs immensely especially with its speed and tempo. Clearly the rhyme scheme has altered, and this has resulted in a change in pace, which forces the reader to slow down and appreciate the natural devices such as personification in the text. Hopefully, the speaker will induce the audience to view her predicament and realize her tireless efforts so that one day she “can rest again” (22). This immediate and abrupt shift in rhythm starkly contrasts the speaker’s desire for rest and the reality of her duties.

The Stranger #1

A common theme throughout The Stranger is the idea that life is meaningless. In the first couple chapters of the book, this is most prevalent in the relationship between Mersault and Marie. It is understood that Mersault and Marie had a previous relationship, but it did not work out. Since then, there appears to be no motivation for love on Mersault’s part, even though he enjoys Marie’s presence and the time he spends with her. When Mersault invites Marie over for lunch, she asks him if “[he] loved her” (35), to which he replied with, “I told her it didn’t mean anything but that I didn’t think so” (35). Less than a chapter later, she asks him if he would marry her, and using almost the same disinterested expression assures Marie that it would not “make any difference to [him] and that [they] could if she wanted to” (41). In his essay The Myth of Sisyphus, Albert Camus discusses the meaningless nature of life, and uses Mersault’s outlook on life to support that claim. The simple fact that Mersault has no interest in love or marriage means that he does not live his life to find passion or sustenance because he cannot find the point. The belief that life has no redeeming purpose coincides with Camus’ absurdist philosophy, and it appears that Mersault is just a proponent of this theory. Although this appears to be an awful outlook on life, the meaning and direction behind Camus’ argument is truly fulfilling and it will be interesting to see how the timeline of the novel plays out in the following chapters.

Since there's no help - Michael Drayton

Thesis: In this poem by Michael Drayton, there is an immediate tone shift from a much disavowed tone to a more pleading one that offers a glimpse of hope.

In this sonnet styled poem, the persona, who is unidentified, but easily inferred as a married man, expresses interest in ending his marriage with his love. In fact, the very first line of the poem expresses this idea: “Since there’s no help, come let us kiss and part” (1). The tone continues to distance the man from the woman, and the man even goes on to claim that this makes him happier: “And I am glad, yea, glad with all my heart” (3). After these lines, it is difficult to predict a shift in tone, yet it occurs after the eighth lines. Instead of continuously renouncing his marriage, the man goes on to personify love, passion, faith, and innocence in an effort to disclaim the woman’s power over repairing their love. The final lines of the poem go on to say, “now, if thou wouldst, when all have given him over, / from death to life thou mightst him yet recover” (13-14). The poem concludes with the man raising the idea that it is necessary for their love and marriage to expire for them to start anew. This shift in tone displays a sense of hope. Observing simply the tone of this poem is interesting enough. It resembles the workings of love that seem to be diminishing, yet there is also a way to fix it. The ending tone reaffirms the positive meaning behind the first eight lines, where it is inevitable that they “kiss and part” for them to ultimately save and cherish whatever they had between them that is so very special.