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Philosophy

Like Meursault, Albert Camus was a Pied-Noir (black foot) — a Frenchman born in the Maghreb, the northernmost crescent of Mediterranean Africa then the heart of France's African colonies.^[3] Literarily classed as an existential novel, The Stranger exposits his theory of the absurd. In the story's first half, Meursault is an unperceptive man, existing only via sensory experience (the funeral procession, swimming in the sea, copulating with his girlfriend, et cetera): the only absolute truth being death, with many relative truths — and, in particular, the truths of religion and science (empiricism, rationality, et cetera) are, ultimately, meaningless.

Meursault is unaware of the absurdity of human existence, yet it colours his actions, the only real and true things are his physical experiences, thus, he kills the Arab man as 'his response to the sun's physical effects upon him', as he moves toward his adversary on the brightly overlit beach. In itself, his killing of the Arab man is meaningless — merely another occurrence that happens to Meursault. The episode's significance is in his forced introspection about his life — and its meaning — while contemplating his impending death by formal execution; only in formal trial and death does he acknowledge his mortality and responsibility for his own life.

The story's second half examines the arbitrariness of Justice: the public official compiling the details of the murder case tells him repentance and turning to Christianity will save him, but Meursault refuses to pretend he has found religion; emotional honesty overrides self-preservation, and he accepts punishment for the consequence of his actions.

Thematically, the Absurd overrides Responsibility; in fact, despite his physical terror, Meursault is satisfied with his death; his discrete sensory perceptions only physically affect him, and thus are relevant to his self and his being, i.e. in facing death, he finds revelation and happiness in the gentle indifference of the world. Central to that happiness is his pausing after the first, fatal gunshot when killing the Arab man. Interviewed by the magistrate, he mentions it did not matter that he paused and then shot four more times; Meursault is objective, there was no resultant, tangible difference: the Arab man died of one gunshot, and four more gunshots did not render him 'more dead'. The absurdity is in society's creating a justice system to give meaning to his action via capital punishment: The fact that the death sentence had been read at eight o'clock at night and not at five o'clock . . . the fact that it had been handed down in the name of some vague notion called the French (or German, or Chinese) people — all of it seemed to detract from the seriousness of the decision.

To wit, Camus and Sartre, in particular, were of the French resistance against the Nazis; their friendship ultimately differing only in philosophic stance. Albert Camus presents the world as meaningless, therefore, its meaning is rendered by oneself; it is the individual person who gives meaning to a circumstance. Camus deals with this matter and Man's relationship with Man via considerations of suicide in the novels A Happy Death and The Plague and in non-fiction works such as The Rebel and The Myth of Sisyphus.