Tuesday, February 24, 2015

The Stranger Essay Outline

The Stranger Essay Outline 

Prompt: In Ralph Ellison’s Invisible Man, a portion of the prologue reads, “I am invisible, understand, simply because people refuse to see me. […] It is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination — indeed, everything and anything except me” (Ellison 3). In what ways can this excerpt be an appropriate description of Meursault? What does it elucidate about Meursault’s character, and is it a perfect description for the man himself? 

Thesis: The excerpt from the prologue of Invisible Man can also be a description of Meursault from The Stranger because people and society do not see Meursault for who he actually is, which is someone who values the fulfillment of his basic needs and distances himself from emotions. 

  • “I remembered that it was Sunday, and that bothered me: I don’t like Sundays. So I rolled over, tried to find the salty smell of Marie’s hair had left on the pillow, and slept until ten. Then I smoked a few cigarettes, still in bed, till noon. I didn't feel like having lunch at Céleste’s like I usually did because they’d be sure To ask questions and I don’t like that. I fixed myself some eggs and ate them out of the pan, without bread because I didn’t have any left and I didn’t feel like going downstairs to buy some” (21). 
  • Meursault is self centered, which is seen by his overuse of the word “I” and how much he focuses on himself and not others, such as Marie, who just hurriedly left, or Céleste, who is most likely worried about Meursault.  
  • His priorities are the basic necessities for life, such as food and sleep, and not the feelings he may or may not have for Marie.
  • He avoids others as much as possible, choosing instead to stay by himself in his apartment as opposed to going out to have lunch or buy bread. 
  • “‘We put the cover on, but I’m supposed to unscrew the casket so you can see her.’ He was moving toward the casket when I stopped him. He said, ‘You don’t want to?’ I answered, ‘No.’ He was quiet , and I was embarrassed because I felt I shouldn’t have said that. He looked at me and then asked, ‘Why not?’ but without criticizing, as if he just wanted to know. I said, ‘I don’t know.’ He started twirling his mustache, and then without looking at me, again he said, ‘I understand’” (6).
  • The caretaker of the facility Meursault’s mother lived in is confused by Meursault’s behavior. He expects Meursault to more visibly mourn his mother and perform normal tasks, such as seeing the body. However, Meursault is not mournful and views the funeral as a break from work, and his actions puzzle the caretaker, but Meursault sees no reason to cry or see the body.
  • “That evening Marie came by to see me and asked if I wanted to marry her. I said it didn’t make any difference to me and that we could if she wanted to. Then she wanted to know if I loved her. I answered the same way I had last time, that it didn’t mean anything but that I probably didn’t love her. ‘So why marry me, then?’ she said. I explained to her that it didn’t really matter and that if she wanted to, we could get married” (41). 
  • The answer that is expected from Meursault is that he wants to marry her and that he loves her because they are in a relationship. However, he avoids emotions, especially strong ones, such as love, so he does not actually care whether or not they get married, which is not typical for most people, who, at the very least, want to be in a romantic relationship with another person. 
  • “Then he told me that as a matter of fact he wanted to ask my advice about the whole business, because I was a man, I knew about things, and then we’d be pals. I didn’t say anything, and he asked me again if I wanted to be pals. I said it was fine with me: he seemed pleased. He got out the blood sausage, fried it up, and set out glasses, plates, knives, and forks, and two bottles of wine” (29).
  • Raymond attempts to form a connection with Meursault and ask him for advice about a relationship he is in, but Meursault does not really care about Raymond or his issues. The reason Meursault is even with Raymond is because Raymond offered him food and wine, which is Meursault’s main concern. 
  • “He said that he had peered into it [Meursault’s soul] and that he had found nothing, gentlemen of the jury. He said the truth was that I didn’t have a soul and that nothing human, not one of the moral principles that govern men’s hearts, was within my reach. […] He went so far as to hope that human justice would mete out punishment unflinchingly. But he wasn’t afraid to say it: my callousness inspired in him a horror nearly greater than that which he felt at the crime of parricide. And also according to him, a man who is morally guilty of killing his mother severs himself from society in the same way as the man who raises a murderous hand against the father who begat him” (101-102). 
  • The prosecutor makes the assumption that Meursault is evil and inhumane not only because he killed a man, but also because Meursault did not cry at his mother’s funeral, which is a completely unrelated incident. The prosecutor draws the conclusion that Meursault is emotionless, which he is, and that this therefore makes Meursault a monster, which is debatable. Because Meursault did not cry at his mother’s funeral, which is the normal response, he is condemned as a cold-blooded killer. 
  • “He was expressing his certainty that my appeal would be granted, but I was carrying the burden of a sin from which I had to free myself. According to him, human justice was nothing and divine justice was everything. I pointed out that it was the former that had condemned me. His response was that I didn’t know what a sin was. All they had told me was that I was guilty. I was guilty, I was paying for it, and nothing more could be asked of me” (118). 

  • The priest is confused by Meursault’s unwillingness to accept religion before his death, but Meursault does not believe in God because God is not a tangible force, and Meursault refuses the embrace anything that does not apply to his physical needs. 

Sunday, February 22, 2015

Ten Quotes from the First Five Chapters of The Picture of Dorian Gray

Ten Quotes from the First Five Chapters of The Picture of Dorian Gray


  1. “There is a fatality about all physical and intellectual distinction, the sort of fatality that seems to dog through history the faltering steps of kings. […] Your rank and wealth, Harry; my brains, such as they are — my art, whatever it may be worth; Dorian Gray’s good looks — we shall all suffer for what the gods have given us, suffer terribly” (5-6)
  2. “It is a sad thing to think of, but there is no doubt that Genius lasts longer than Beauty” (14). 
  3. “but music was not articulate. It was not a new world, but rather another chaos, that it created in us. Words! Mere words! How terrible they were! how clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words?” (21)
  4. “Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul” (23). 
  5. “How sad it is! I shall grow old, and horrible, and dreadful. But this picture will remain always young. It will never be older that this particular day of June…. If it were only the other way! If it were I who was to be always young, and the picture that was to grow old! For that — for that — I would give everything! Yes, there is nothing in the whole world I would not give! I would give my soul for that!” (28). 
  6. “Behind every exquisite thing that existed, there was something tragic” (39).
  7. “Yes, he would try to be to Dorian Gray what, without knowing it, the lad was to the painter who had fashioned the wonderful portrait. He would seek to dominate him — had already, indeed, half done so. He would make that wonderful spirit his own. There was something fascinating in this son of Love and Death” (40). 
  8. “I don’t think I am likely to marry, Harry. I am too much in love. That is one of your aphorisms. I am putting it into practise, as I do everything you say” (51).
  9. “You filled me with a wild desire to know everything about life. For days after I met you, something seemed to throb in my veins. As I lounged in the Park, or strolled down Picadilly, I used to look at every one who passed me, and wonder, with a mad curiosity, what sort of live they led. Some of them fascinated me. Others filled me with terror. There was an exquisite poison in the air. I had a passion for sensations….” (52).
  10. “But you should not say the greatest romance of your life. You should say the first romance of your life.You will always be loved, and you will always be in love with love” (53).  

Monday, February 2, 2015

Characterization of Meursault in Part One

Characterization of Meursault in Part One

In part one of Albert Camus’s “The Stranger,” it quickly becomes clear that the main character Meursault is very awkward in social situations. He says thing that are uncalled for, such as when he asks his boss for time off for his mother’s funeral: “I even said, ‘It’s not my fault.’ Then I thought I shouldn’t have said that” (3). He is unsocial and avoids conversation when possible. For example, he is asked a question about his journey to his mother’s funeral and lies so that he “wouldn’t have to say anything else” (4). Little things irritate him easily, such as the silence of the elderly people when they are keeping vigil over his mother’s body. Normal interactions and gestures with other people seem to confuse and shock him: “On their way out, and much to my surprise, they all shook my hand — as if that night during which we hadn’t exchanged as much as a single word had somehow brought us closer together” (12). In addition, some of his behaviors are simply odd. The day after his mother’s funeral, Meurault goes to the beach and goes out on a date with a woman he likes, which is a strange thing to do immediately after the funeral of one’s mother. Meursault’s awkwardness in social situations distances him from others, causing him to become somewhat compassionless. 
In addition to being awkward, Meursault can be quite callous at times. When he and his mother’s friends keep vigil over the body before the funeral, one of the women starts crying. Not only does he not comfort her, he is also annoyed by her: “I  wished I didn’t have to listen to her anymore” (10). Meursault has a similar reaction when Salamano is upset about losing his dog, which has been his only companion for years. Instead of comforting the elderly man, Meursault states that he must wake up early the next morning. When in the funeral procession, Meursault repeatedly sees his mother’s very dear friend falling behind due to his age and his limp. Most people would offer to help the man or ask the procession to slow down for his sake, but Meursault continues to walk on with little regard to the struggling man and then he casually states that the man passes out at the funeral. Another instance of his callousness occurs when Marie proposes to him. He says that he does not care whether or not they get married and that he probably does not love her. He is brutally honest with her and does not sugarcoat this, which could easily upset someone, especially a romantic interest. Meursault’s callousness makes him seem cold, detached, and inhuman, and it affects his morals. 

Meursault also displays having loose morals. When asked if the situation between Salamano and his dog is pitiful, Meursault always responds that he does not think it is even though the dog is often beaten. Meursault defends Raymond beating his mistress because Meursault believes that she deserved since she might have been cheating on Raymond. He also is willing to lie to the police about the incident with Raymond and the mistress, beat up a man on the beach if one shows up while Raymond and Masson are fighting the others, and shoot a man if he hurts Raymond during their fight. These questionable actions all lead up to Meursault fatally shooting a man and then continuing to shoot the body: “Then I fired four more times at the motionless body where the bullets lodged without leaving a trace” (59). His loose morals are often harmless, but they have the capability to result in a murder that will trouble Meursault throughout the novel.