Authenically Absurd: The Stranger vs Waiting for Godot
In theory, existentialists believe that to rationalize man's existence is an absurd endeavor, for life itself is absurd. In essence, living is merely a passage of time, terminated by an inevitable death. The human desire to ascribe a decadent meaning to life is a futile passion, our only salvation being the extent to which we fulfill ourselves. Therefore, in the brevity of existence, one must fervently pursue their own individual choices and convictions. Both Albert Camus in The Stranger and Samuel Beckett in Waiting for Godot expose the sheer randomness of life and its cruel indifference to humanity. In The Stranger Meursualt assumes an almost stoic existence, remaining indifferent to life's trials and tribulations. In Waiting for Godot Vladimir and Estragon try to stay preoccupied while waiting for a man named Godot, who will perhaps never come. Although both authors deliver a rather bleak perspective of human existence, the characters are redeemed by their own personal sense of authenticity and commitment.In The Stranger Meursault is portrayed as a man who is psychologically detached from the world around him. His indifference to normal human sentiment is established by Camus in the opening pass
The theme of authenticity and commitment is also consistent in Beckett's absurd play Waiting For Godot. Centered around two tramps, Estragon and Vladimir, Beckett's essential concept is the act of waiting for someone or something that never arrives. A direct result of this hopelessness is the daily struggle to pass the time. Estragon and Vladimir constantly seek ways to amuse themselves throughout the play to in order to alleviate the pain of waiting and possibly to stop themselves from thinking or contemplating too deeply. Although the act of waiting seems hopeless in Estragon and Vladimir's case, they are redeemed by their tireless commitment. Passing the time is their mutual obsession. They engage in several rituals to combat the silence and emptiness of a meaningless existence. After conversing with Pozzo and Lucky they remark: age of the play, "Maman died today. Or yesterday maybe, I don't know. I got a telegram from the home: 'Mother deceased. Funeral tomorrow. Faithfully yours.' That doesn't mean anything. Maybe it was yesterday" (S 3). His lack of emotion over his mother's death sheds a callous light on the nature of Meursault. He is a man of solitude, and though reflecting upon the actions of others, remains indifferent in his own pursuits. In order to survive the harsh realities of existence, Meursualt creates his own, individual reality. He adopts the characteristics of a stoic, a man of moderation, who lacks deep convictions and passion. When Marie proposes the ideas of love and marriage Meursualt nonchalantly replies that "it didn't make any difference to me and that we could if she wanted to" (S 41). It is clear that Meursualt does not attach much importance to normal human sentiments. Instead, when inquired, he is aloof and detached. In assuming an amoral existence Meursault shields himself from life's disappointments. When questioned his responses are quick, and painless, relying on instinct rather than emotion. Meursault views life as one might a movie. No matter what occurs, "It's all the same to me." Camus perhaps feels that in order to numb the pain of a meaningless existence, one must detach oneself from one's emotions. Meursault is not a stranger, but rather an observer without an emotional connection to the world, distinguished by an easy-going acceptance of meaninglessness Although both works of l
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Approximate Word count = 1593
Approximate Pages = 6 (250 words per page double spaced)
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