The Importance Of The Character Of Marie

In & # 8216 ; The Outsider & # 8217 ; Essay, Research Paper

The intent of this essay is to convey to illume the significance of Marie as a character in Albert Camus? , ? The Foreigner? . Through analysis and unfavorable judgment, this essay enterprises to uncover her importance as an assistance to the better the reader? s apprehension of the personality of Meursault, the supporter of the novel.

Marie is foremost introduced to the reader in chapter two of portion one. The description of Marie that Camus gives us in this chapter every bit good in other parts of the book is unusually nonsubjective in nature. In every portraiture of Marie, the writer paints a degage image which highlights the objectification of Marie in this novel. The narrative employs short sentences which serve to stress the coldness and deficiency of emotion in the visible radiation under which Meursault sees Marie. This narrative manner is noticed in the 2nd paragraph on Page 24 particularly in the lines? She had her leg against mine, and I was caressing her chests. Towards the terminal of the show I kissed her, but severely. Afterwards she came back to my place. ? The apathy and indifference with which Camus has described Meursault? s day of the month with Marie resembles that of a history text edition, merely naming down a chronology of events, like effects taking to a concluding result. The narrative in the remainder of the chapter is relatively rich in the usage of adjectives and feeling. This shows, hence, the objectification of Marie even during her debut in the novel.

Another characteristic tendency that is observed in the description of Marie, is sensualness. Marie is presented merely as a organic structure, particularly in the first portion of the novel. The descriptions are sexual in context which exhibits the objectification of Marie into a organic structure. The lines on page 37, ? I truly fancied her because she was have oning a pretty ruddy and white striped frock and leather sandals. You could see the form of her house chests and her bronzed face was like a flower. ? , are declarative of this point under consideration. We get similar descriptions in other parts of the novel every bit good.These bodily descriptions give us the sense of emotional withdrawal that Mersault feels for Marie and points out that the kernel of their relationship revolves strictly around sex and physical pleasance. The character of Marie has therefore been molded into a trade good and a vas of sexual satisfaction. This commodification of Marie can be clearly noticed in the line? Yesterday was Saturday and Marie came over as we? d arranged? . This line characterizes the objectiveness of their relationship therefore reenforcing my illation that Marie is Meursault? s object of? illusion? , merely like a plaything in a kid? s custodies.

We therefore made cognizant of Meursault? s pick of non miring himself in a relationship of love and emotion. When he was asked by Marie whether he loved her, Meursault replied that he it did non intend anything to him but he likely did non. On another juncture, Meursault besides showed an indifference when asked about matrimony. He replied that matrimony was non a serious affair for him but that he? would non mind? . Meursault besides bluffly added that he would hold said the same thing to any other adult female. But Marie did non shudder from the coldness of Meursault? s statements. Alternatively, she said that she likely loved him for being? peculiar? and that is why she would wish to get married him. Meursault is identified to be a character who believes in the candor of sentiment. This is what makes him look emotionless and this deficiency of emotion is seen as an incongruence with the norms of society. That is what makes Meursault the? Outsider? . Meursault candor is therefore reflected in his relationship with Marie for the fact that he sees her as an? thing? and still chooses non conceal behind a mask of pretentious emotions. His objectification of Marie is therefore declarative of Meursault? s ain personality.

Further objectification of Marie can besides be obse

rved through the absence of voice that the writer has given her. This has been deliberately created by Camus to foreground her commodification. Marie? s aphonia can be seen at every case in the novel affecting her. One distinguishable point worth adverting in this context is that she is the merely? side? character in the book who does non hold a narrative to state. By the words? narrative to state? , I mean a background narrative or an component to add to the secret plan. Both Raymond every bit good as Salamano and his Canis familiaris have their ain narratives to state. But Marie on the other manus is introduced without much background information.

Another limpid characteristic of Marie? s is her laughter. At every juncture when Marie is addressed or asked for an sentiment, she responds with a smiling or a laugh. Certain lines, such as? I asked her if she wanted to come to the film that flushing. She laughed and said there was a Fernandel movie she? vitamin Ds like to see. ? bear illustration to this observation. The smiling and the laugh are practically substituted in exchange of Marie? s voice. The lines? when she laughed I fancied her once more? and? ? and for no evident ground, she laughed once more, so I kissed her? are rather dramatic because they indicate that Marie appealed to Meursault when she remained unvoiced, merely like a toy-doll or a silent person. Another outstanding illustration is the courtroom scene when Marie was asked to take the base. Marie answered all of the prosecuting officer? s inquiries in an nonsubjective mode and? in an about toneless voice? . This was when the justice and jury intently listened to her statement. But when Marie burst into cryings and pleaded for Meursault? s artlessness by stating that she was being forced to state the antonym of her ideas, the justice beckoned for her to be taken off and continued with the hearing. This underlines the fact that Marie? s emotions and ideas were of no relevancy to the justice and merely the replies of the inquiries put frontward by the prosecuting officer held significance. This non merely illustrates society? s failure to accept Marie? s sentiments and value judgements but besides her decrease into an object or a mechanical plaything doll, merely supposed to smile or present programmed replies to inquiries.

In portion two of the novel, the objectification of Marie is of a different nature. The subject of portion two revolves around the imprisonment of Meursault, the tribunal hearing and his executing. This portion of the novel shows a alteration in Marie? s significance as an object of illusion. She becomes the symbol of Meursault? s freedom from captivity. Merely as he was addicted to smoke, Meursault had become addicted to Marie. Meursault managed to get the better of his desire for coffin nails. But his yearning and longing for Marie, or for any of the adult females of his yesteryear, was much greater. Marie? s character is therefore responsible for raising understanding within the reader for Meursault. Meursault? s captivity and separation served to add a hint of love and fondness for Marie. Although the bodily descriptions still prevail, a touch of fondness is noticed. Nostalgia is besides outstanding in his descriptions. During his imprisonment, flashes of memories of swimming with her in the sea and squashing her shoulders would traverse his head. He would look frontward to Marie? s visits and? make the most of holding Marie at that place? when she visited. In add-on to this, Marie besides encouraged Meursault non to free hope. She was, in truth, the lone ground for Meursault to care for any hope. This accentuates her significance as a symbol of his freedom.

We can therefore reason that understanding the relevancy of the character of Marie is important to groking Meursault? s character. She is a symbol of his truthfulness, indifference, objectiveness and freedom from imprisonment. Her character might non animate any regard for Marie as a individual, but her relationship with Meursault elucidates the ground for his being called? The Foreigner? .

Bibliography

& # 8216 ; The Outsider & # 8217 ; by Franz Kafka