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About the author
Albert Camus
938?books35.2k?followersWorks, such as the novels
The Stranger
(1942) and
The Plague
(1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calder¨®n de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" R¨¦volte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'?tranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese °¢¶û±´¡¤¼ÓçÑ
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calder¨®n de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" R¨¦volte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'?tranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese °¢¶û±´¡¤¼ÓçÑ
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Displaying 1 - 13 of 13 reviews
November 20, 2022
A Confused review:
"Since they cut out my tongue, another tongue, I don¡¯t know, goes on wagging inside my skull, something is talking, or someone, who suddenly shuts up and then begins all over again.¡±
The bizarre thing is that even what exactly is the concept that Camus wanted to highlight here, is befuddling. Futility of Religions? A brief yet chafed image of slavery? Proselytizing motive of so-called religious devotees? Or simply how a man's ability to think properly is lost when subjected to inhumane treatment? Gruesome, you will think. But can you call it so when the tortured one speaks of no pain?
The story is somewhat like an abbreviated and redirected version of , with the difference that where the latter highlights the absurdity of human existence as a whole, the former emboldens the absurdity of religious faith by linking religion to suicide and death, and thus meaninglessness and suffering. Moreover it inspires serious afterthoughts. For hardly anyone can relate to the anonymous protagonist even metaphorically but, essentially most of us share the same variation of confused thoughts when it comes to religious beliefs. In other words, most of us are pig-headed enough to rely more on those 'preachers' than on the easily available religious scriptures (I received my copy of Quran for free from a Hindu thrift store, and Bible during a Durgapuja outing).
Sartre's philosophy of Existentialism (1946): Man is not predestined for his actions he is absolutely free to make his own destiny and is thereby solely responsible for his decisions. Man should be true to himself, in the process experience, alienation and loneliness and feelings of anguish arise. Man recognises his freedom of will over the way the world sees him, the way normally he is expected to behave, the norms of behaviour which determines society. (Being and Nothingness) Published years later after the story, it ought to serve as an explanation to the so-called 'Confused Mind' .
The theme at the end of the story is more relevant to Camus' . On clarification, Lois Tyson said, "Taken to it's logical extreme, this relationship to death will result in suicide. My intense fear of losing my life makes living so painful and frightening that my only escape is death." Sometimes, death does leave this invisible touch of happiness on the confuse mind, 'The Renegade' .
The protagonist had one linear unconfused thought, however. He believed: "Life doesn't follow the continuous flow of logical argument and (that) one often has to risk moving beyond the limits of the rational in order to live life to the fullest."(Flynn, 2006) Exactly how much he was successful, you will know after the story. Be prepared though, though blissfully free of Faulknerian elements in the few pages, brace yourself for a reread.
Gory enough where the author portrayed the torturous instances at the rather mysterious House of Fetish, to the blazing salty depiction of desert of Taghaza, the narration is often punctuated like:
"Yes, I believed, gra gra, and I felt better, I had put on weight, I was almost handsome, I wanted to be offended."
Keep aside everything, you know that sound "gra gra" ? That's when someone without a tongue is trying to swallow something.
"Since they cut out my tongue, another tongue, I don¡¯t know, goes on wagging inside my skull, something is talking, or someone, who suddenly shuts up and then begins all over again.¡±
The bizarre thing is that even what exactly is the concept that Camus wanted to highlight here, is befuddling. Futility of Religions? A brief yet chafed image of slavery? Proselytizing motive of so-called religious devotees? Or simply how a man's ability to think properly is lost when subjected to inhumane treatment? Gruesome, you will think. But can you call it so when the tortured one speaks of no pain?
The story is somewhat like an abbreviated and redirected version of , with the difference that where the latter highlights the absurdity of human existence as a whole, the former emboldens the absurdity of religious faith by linking religion to suicide and death, and thus meaninglessness and suffering. Moreover it inspires serious afterthoughts. For hardly anyone can relate to the anonymous protagonist even metaphorically but, essentially most of us share the same variation of confused thoughts when it comes to religious beliefs. In other words, most of us are pig-headed enough to rely more on those 'preachers' than on the easily available religious scriptures (I received my copy of Quran for free from a Hindu thrift store, and Bible during a Durgapuja outing).
Sartre's philosophy of Existentialism (1946): Man is not predestined for his actions he is absolutely free to make his own destiny and is thereby solely responsible for his decisions. Man should be true to himself, in the process experience, alienation and loneliness and feelings of anguish arise. Man recognises his freedom of will over the way the world sees him, the way normally he is expected to behave, the norms of behaviour which determines society. (Being and Nothingness) Published years later after the story, it ought to serve as an explanation to the so-called 'Confused Mind' .
The theme at the end of the story is more relevant to Camus' . On clarification, Lois Tyson said, "Taken to it's logical extreme, this relationship to death will result in suicide. My intense fear of losing my life makes living so painful and frightening that my only escape is death." Sometimes, death does leave this invisible touch of happiness on the confuse mind, 'The Renegade' .
The protagonist had one linear unconfused thought, however. He believed: "Life doesn't follow the continuous flow of logical argument and (that) one often has to risk moving beyond the limits of the rational in order to live life to the fullest."(Flynn, 2006) Exactly how much he was successful, you will know after the story. Be prepared though, though blissfully free of Faulknerian elements in the few pages, brace yourself for a reread.
Gory enough where the author portrayed the torturous instances at the rather mysterious House of Fetish, to the blazing salty depiction of desert of Taghaza, the narration is often punctuated like:
"Yes, I believed, gra gra, and I felt better, I had put on weight, I was almost handsome, I wanted to be offended."
Keep aside everything, you know that sound "gra gra" ? That's when someone without a tongue is trying to swallow something.
November 11, 2023
- ??? ?????? ???? ??????? ????? ??????? (?????? ?????) ?? ???? ????????? ??? ?? ???? ??????? ??? ?????? (???? ???????? ????)? ??? ?????? ???? ??????? ??????? ????? ??????? ??? ?????? ??????? ????? ????? ????? ??????? ???????? ?? ???? ???? ???????.
- ????? ???? ?? ?????? ??? ??????? ??? ???? ?????? ?? ??????? ?????? ?????? ??? ??????? ????? ???????? ???? ?????.
- ????? ????? ??? ?????? ?????? ???? ??? ??????? ??? ?? ???? ???? ???? ????? ????????? ??????? ?? ??? ????? ????????? ???????? ???? ???? ????? ???? ????? ????? ??? ????? ????? ????? ?? ??????? ?????? ?????? ??? ?????? ??? ?????? ?? ??? ?? ?????? ?? ??? ?????? ??????? (?? ??????).. ??? ?? ???? ??? ??? ????!...
- ????? ?????? ??????? ??? ????? "??????".
- ????? ???? ?? ?????? ??? ??????? ??? ???? ?????? ?? ??????? ?????? ?????? ??? ??????? ????? ???????? ???? ?????.
- ????? ????? ??? ?????? ?????? ???? ??? ??????? ??? ?? ???? ???? ???? ????? ????????? ??????? ?? ??? ????? ????????? ???????? ???? ???? ????? ???? ????? ????? ??? ????? ????? ????? ?? ??????? ?????? ?????? ??? ?????? ??? ?????? ?? ??? ?? ?????? ?? ??? ?????? ??????? (?? ??????).. ??? ?? ???? ??? ??? ????!...
- ????? ?????? ??????? ??? ????? "??????".
August 19, 2022
???? ???? ????? ?????? ?? ??? ?????? ?? ???? :)
March 24, 2016
Strig?tul tragic al omului ce tr?ie?te ?ntr-o lume lipsit? de sens.
September 11, 2020
Le Ren¨¦gat ou un esprit confus
"The Renegade, or a Confused Mind"
From the short story collection "Exile and the Kingdom" (L'exil et le royaume) (1957), translated by Carol Cosman
This was extremely easy to read but probably the most difficult thing I've read to interpret. The plot is quite simple. It's about a missionary who goes off to convert a town that is notoriously hostile to outsiders in Taghaza, Mali who ends up enslaved. He witnesses horrible things there and eventually converts to their religion (they worship an Idol). The story is told as he lies outside the city walls in the shade of a cool rock waiting to shoot another missionary.
Style
I found the style extremely compelling. It's a stream-of-conciousness from a madman punctuated by ¡°gha-gha" noises: the sound his mouth makes because his tongue has been cut out. Camus has a beautiful ability to put the reader in the mind of the protagonist, even if that protagonist is an enslaved fanatic with no tongue. The following are my favourite sections (not from my translation):
Wow. There's a psycho if I've ever seen one.
It's interesting how the whole short story is in first-person but the last line is in third-person.
Many devices are used to show the Renegade's insanity. Camus has the Renegade use antiquated sentence structure interspersed between modern English, repeat words, and ramble somewhat incoherently. I found the relentless use of the word "evil" to be a little silly (evil people don't call their ideologies evil!!!) and every time I saw him use "evil" or "hateful" I kind of rolled my eyes.
Interpretaion
Part of why I rated the short story four starts rather than five is that it is EXTREMELY ambiguous with regards to its meaning. I'm fine with having to put in work interpreting something but the short story should have some guardrails to, at the very least, hint at the author's intentions. The Renegade doesn't. So, here are some of my preferred interpretations.
Forsaking Moralism in the Face of Absurdity
Camus believed that people should still act morally despite meaninglessness. I won't go into the mechanisms of his reasoning (maybe in a review of "Reflections on the Guillotine"?) because it's not the focus here. The focus here is the difficulty of adhering to a moral code.
Examining this quote in the context of "Exile and the Kingdom"'s connecting thread reveals much about the narrator. He feels alienated at the seminary. He doesn't believe there is any goodness in himself. Because of this, he doesn't feel at home with goodness-for-the-sake-of-goodness of Catholicism because he only acts good (the aspect of which is tolerance to offense) to convince himself of his inner goodness. Discovering the unadulterated savagery and hatred of the Taghazans, he feels more at home and converts to their religion, becomes a servant of their hatred. He feels contempt for Christianity and wishes for the hatred of the Taghazans to be inflicted on Europe. He feels contempt for those who can be merciful and gentle in the face of the cruelty of the universe. At the close of the short story he discovers "another tongue in me or still that other fellow refusing to die, at my feet, and repeating: ¡®Courage! courage! courage!'". The motif of the tongue represents goodness. The Renegade's tongue is cut out by the Taghazans. He loses his goodness. He discovers however, that there is another tongue wagging inside him. He was not at home with Christian morality but discovers an innate goodness within him. What Camus is saying that even if it may seem hard to be good in the face of the storms of the world, we have an innate goodness (our conscience) we have an obligation to.
Authenticity
Adding onto the previous interpretation, the Renegade is someone who struggles with authenticity. Taking a page from Sartre's book, Camus says that we must not twist and contort ourselves to fit institutions (Taghazan hatred, Christian morality). This acts on two fronts: freedom and yearning. The Renegade has been enslaved but acts in Sartrean "bad faith" by forsaking his intellectual freedom to become cruel like the Taghazans. The symptom of this is a hatred of Christianity and Europe. Perhaps he resents the authenticity of the priests who trained him at seminary. On the yearning front, the Renegade feels displacement (exile) and seeks to find a spiritual home (the kingdom). He has no inner principles and identifies with whomever he is with (Christians when he's at seminary and Taghazans when he's in Taghaza). In the ending he finally discovers something inside of him and has found his true inner kingdom, his true spiritual platform. This is evidenced by the fact that when he believes again in goodness (or perhaps for the first time) he no longer speaks of "offense" and only of mercy and forgiveness. For his authenticity, he is rewarded with a handful of salt in his mouth. Late Camus is not as much of a romantic. Camus realises that just because you embrace authenticity and the inner kingdom doesn't mean the universe stops flinging hardship at you.
The Christian Obsession with Martyrdom and Persecution
The Renegade is obsessed with being "offended". He wants to be insulted and hurt at seminary so he can prove his true goodness in forgiving the people who have hurt him. It's an odd, roundabout mentality but perhaps it represents the Christianity's fixation on martyrdom and persecution. In the Bible, there are multiple stories where wronged people forgive their tormentors (the Parable of the Prodigal Son, even the Crucifixion of Jesus Christ). This has resulted in an ancient cultural fascination with offense which is connected to the root of Christian morality. This is displayed by the Renegade's desire for the Taghazans to hurt him and conquer Europe. He refuses to believe in the righteousness of Christ and yet, he compares himself to Christ. Unlike Christ, the Renegade's suffering is basically self-inflicted because it was his decision to go to Taghaza where he knew he would be tortured. Essentially, the Renegade is a false Christ, a facsimile of Christ who focuses on the offense side of the "offense-forgiveness" equation and obsesses over offense as a route to goodness rather than forgiveness being a consequence of an inner goodness. In this way, Camus may be critiquing the Catholic Church's approach to goodness, mercy, and forgiveness.
"The Renegade, or a Confused Mind"
From the short story collection "Exile and the Kingdom" (L'exil et le royaume) (1957), translated by Carol Cosman
This was extremely easy to read but probably the most difficult thing I've read to interpret. The plot is quite simple. It's about a missionary who goes off to convert a town that is notoriously hostile to outsiders in Taghaza, Mali who ends up enslaved. He witnesses horrible things there and eventually converts to their religion (they worship an Idol). The story is told as he lies outside the city walls in the shade of a cool rock waiting to shoot another missionary.
Style
I found the style extremely compelling. It's a stream-of-conciousness from a madman punctuated by ¡°gha-gha" noises: the sound his mouth makes because his tongue has been cut out. Camus has a beautiful ability to put the reader in the mind of the protagonist, even if that protagonist is an enslaved fanatic with no tongue. The following are my favourite sections (not from my translation):
And now, gra gra, fire on pity, fire on impotence and its charity, fire on all that postpones the coming of evil, fire twice, and there they are toppling over, falling, and the camels flee toward the horizon, where a geyser of black birds has just risen in the unchanged sky. I laugh, I laugh, the fellow is [59] writhing in his detested habit, he is raising his head a little, he sees me¡ªme his all-powerful shackled master, why does he smile at me, I¡¯ll crush that smile! How pleasant is the sound of a rifle butt on the face of goodness, today, today at last, all is consummated and everywhere in the desert, even hours away from here, jackals sniff the nonexistent wind, then set out in a patient trot toward the feast of carrion awaiting them. Victory!
Wow. There's a psycho if I've ever seen one.
This long, this long dream, I¡¯m awaking, no, I¡¯m going to die, dawn is breaking, the first light, daylight for the living, and for me the inexorable sun, the flies. Who is speaking, no one, the sky is not opening up, no, no, God doesn¡¯t speak in the desert, yet whence comes that voice saying: ¡®If you consent to die for hate and power, who will forgive us?¡¯ Is it another tongue in me or still that other fellow refusing to die, at my feet, and repeating: ¡®Courage! courage! courage!¡¯? Ah! supposing I were wrong again! Once fraternal men, sole recourse, O solitude, forsake me not! Here, here who are you, torn, with bleeding mouth, is it you, Sorcerer, the soldiers defeated you, the salt is burning over there, it¡¯s you my beloved master! Cast off that hate-ridden face, be good now, we were mistaken, we¡¯ll begin all over again, we¡¯ll rebuild the city of mercy, I want to go back home. Yes, help me, that¡¯s right, give me your hand. . . .¡±
A handful of salt fills the mouth of the garrulous slave.
It's interesting how the whole short story is in first-person but the last line is in third-person.
Many devices are used to show the Renegade's insanity. Camus has the Renegade use antiquated sentence structure interspersed between modern English, repeat words, and ramble somewhat incoherently. I found the relentless use of the word "evil" to be a little silly (evil people don't call their ideologies evil!!!) and every time I saw him use "evil" or "hateful" I kind of rolled my eyes.
Interpretaion
Part of why I rated the short story four starts rather than five is that it is EXTREMELY ambiguous with regards to its meaning. I'm fine with having to put in work interpreting something but the short story should have some guardrails to, at the very least, hint at the author's intentions. The Renegade doesn't. So, here are some of my preferred interpretations.
Forsaking Moralism in the Face of Absurdity
Camus believed that people should still act morally despite meaninglessness. I won't go into the mechanisms of his reasoning (maybe in a review of "Reflections on the Guillotine"?) because it's not the focus here. The focus here is the difficulty of adhering to a moral code.
My confessor couldn¡¯t understand when I used to heap accusations on myself: ¡®No, no, there¡¯s good in you!¡¯ Good! There was nothing but sour wine in me, and that was all for the best...
Examining this quote in the context of "Exile and the Kingdom"'s connecting thread reveals much about the narrator. He feels alienated at the seminary. He doesn't believe there is any goodness in himself. Because of this, he doesn't feel at home with goodness-for-the-sake-of-goodness of Catholicism because he only acts good (the aspect of which is tolerance to offense) to convince himself of his inner goodness. Discovering the unadulterated savagery and hatred of the Taghazans, he feels more at home and converts to their religion, becomes a servant of their hatred. He feels contempt for Christianity and wishes for the hatred of the Taghazans to be inflicted on Europe. He feels contempt for those who can be merciful and gentle in the face of the cruelty of the universe. At the close of the short story he discovers "another tongue in me or still that other fellow refusing to die, at my feet, and repeating: ¡®Courage! courage! courage!'". The motif of the tongue represents goodness. The Renegade's tongue is cut out by the Taghazans. He loses his goodness. He discovers however, that there is another tongue wagging inside him. He was not at home with Christian morality but discovers an innate goodness within him. What Camus is saying that even if it may seem hard to be good in the face of the storms of the world, we have an innate goodness (our conscience) we have an obligation to.
Authenticity
Adding onto the previous interpretation, the Renegade is someone who struggles with authenticity. Taking a page from Sartre's book, Camus says that we must not twist and contort ourselves to fit institutions (Taghazan hatred, Christian morality). This acts on two fronts: freedom and yearning. The Renegade has been enslaved but acts in Sartrean "bad faith" by forsaking his intellectual freedom to become cruel like the Taghazans. The symptom of this is a hatred of Christianity and Europe. Perhaps he resents the authenticity of the priests who trained him at seminary. On the yearning front, the Renegade feels displacement (exile) and seeks to find a spiritual home (the kingdom). He has no inner principles and identifies with whomever he is with (Christians when he's at seminary and Taghazans when he's in Taghaza). In the ending he finally discovers something inside of him and has found his true inner kingdom, his true spiritual platform. This is evidenced by the fact that when he believes again in goodness (or perhaps for the first time) he no longer speaks of "offense" and only of mercy and forgiveness. For his authenticity, he is rewarded with a handful of salt in his mouth. Late Camus is not as much of a romantic. Camus realises that just because you embrace authenticity and the inner kingdom doesn't mean the universe stops flinging hardship at you.
The Christian Obsession with Martyrdom and Persecution
The Renegade is obsessed with being "offended". He wants to be insulted and hurt at seminary so he can prove his true goodness in forgiving the people who have hurt him. It's an odd, roundabout mentality but perhaps it represents the Christianity's fixation on martyrdom and persecution. In the Bible, there are multiple stories where wronged people forgive their tormentors (the Parable of the Prodigal Son, even the Crucifixion of Jesus Christ). This has resulted in an ancient cultural fascination with offense which is connected to the root of Christian morality. This is displayed by the Renegade's desire for the Taghazans to hurt him and conquer Europe. He refuses to believe in the righteousness of Christ and yet, he compares himself to Christ. Unlike Christ, the Renegade's suffering is basically self-inflicted because it was his decision to go to Taghaza where he knew he would be tortured. Essentially, the Renegade is a false Christ, a facsimile of Christ who focuses on the offense side of the "offense-forgiveness" equation and obsesses over offense as a route to goodness rather than forgiveness being a consequence of an inner goodness. In this way, Camus may be critiquing the Catholic Church's approach to goodness, mercy, and forgiveness.
May 26, 2019
??? ????? ???? ??? ??????...???? ???? ???? ????? ?????...?? ??????? ? ????? ??????...???? ????? ?? ????? ??? ?? ??? ?????! ?? ??? ???? ???...????? ????...?? ??? ?????? ??????? ???? ???? ?????? ??????...?? ????! ??? ????? ????? ????? ?? ?????? ? ??? ???? ????...??? ????? ?? ???? ????? ??? ??? ??? ??? ?? ? ??? ???? ?????? ??? ??? ????? ?? ???? ??????...?? ???? ?????? ! ???? ???? ????? ?????? ?????? ??????? ?????...??? ?? ????? ? ????? ...???? ????? ??? ?? ?? ???? ???? ????....?? ??? ?? ???? ??!
???????...????? ...???? ??? ???? ??? ???? ??? ??? ????...? ??? ???? ?? ??? ?????? ...??????.........????..........????? ??? ???? ...? ?? ????? ????? ?? ?????...???? ??? ??...??? ???!
???????...????? ...???? ??? ???? ??? ???? ??? ??? ????...? ??? ???? ?? ??? ?????? ...??????.........????..........????? ??? ???? ...? ?? ????? ????? ?? ?????...???? ??? ??...??? ???!
July 5, 2023
???? ?????? ???????????????????????? ???. ?? ???? ???? ???????????????? ????? ?? ?????? ??? ?? ??? ?? ?? ???? ???? ???? ??? ?? ?? ????? ??????? ?? ??? ????? ??????? ?? ?? ???? ? ?? ????? ???? ???? ??? ?? ??? ?? ????? ?? ????: ???????? ?? ?????? ???? ??????? ?????? ?? ??? ?? ?????? ????.? ???? ???? ???? ?? ??????? ??????????? ??? ??? ?? ?? ????? ?????????: ????? ??? ??? ? ?????? ?????. ???????????????: ????? ???? ???? ???? ? ??? ???????? ?? ?????.
???? ?? ???? ??? ????? ????? ?? ?? ??????? ??? ???????? ????????? ???? ????? ????????? ?? ??? ?? ????????? ??????? ??? ???? ???????.
?????????????? ??? ??? ?? ????? ?? ???? ??? ?????? ????? ? ???? ????? ?? ?? ???? ? ????? ????? ??? ?? ?????? ???? ? ?????? ?? ???????? ?? ??? ????? ??? ?? ?? ??? ????? ? ???? ????? ???????? ?? ?? ????? ?????. ?????? ???????? ??????? ????? ???? ???? ???? ?? ???? ???? ????? ??????? ?? ?? ???? ? ????? ????? ??????.
?????? ??????? ???? ????????? ?????? ???? ??????? ? ???????????????? ?? ???? ?? ???? ?? ?? ???? ???????? ?? ?? ??? ??????. ?? ???? ????? ???? ?????? ????????? ?? ??????? ?? ????? ????????? ?? ???? ??? ?? ?? ?????? ??????. ????? ??? ???? ?? ???? ?????? ???? ???? ?????"?? ?????"????????? ?? ???? ??? ??? ???????.
?? ???? ????? ????? ?????? ??????? ??????????? ? ????? ????.
?? ???? ? ??????? ????? ? ?? ????? ?? ????? ???????????? ???? ??? ??????? ? ?? ????? ?? ??? ?????? "?? ??? ?? ??". ????? ?? ??????????? ?????? ??? ???? ???? ?? ?? ????? ???? ????? ?? ????? ?? ?? ???? ??? ??? ???????? ???.
???? ?? ?? ???? ???? ???? ???????? ?? ????? ???? ?? ???? ?? ??? ?????? ???? ??????? ? ?? ??????? ?? ???? ????????? ???? ?? ?? ???? ???? ????? ???? ????? ???.
?????? ????????? ???? ??? ??? ?? ?? ?? ?? ??? ?? ????? ??????? ????? ??????? ???????????????? ?? ?????? ??? ?? ???? ???????? ??? ?? ?? ??? ??? ??? ???? ?????.
???? ??? ?????? ?? ??? ?? ?? ?????? ???? ????? ??? ??????? ??????? ???? ?? ????? ???? ?? ????????? ???? ??????? ?? ????? ?????? ???? ? ????????? ?? ??? ??????.
????? ???????? ??? ?? ??? ???? ?? ???? ????????? ???? ?? ???? ?????? ????? ??? ??????.????? ????? ????? ????? ??? ????? ???? ?????... ??????? ??? ?? ??? ??????? ???? ??? ? ???? ?????? ????? ?? ?? ??? ?? ?????? ???? ?? ????????????????? ???? ????????? ?? ????? ????? ???? ??? ?? ???? ????????? ?? ???????? ????.
? ????? ????? ?? ???? ? ?????? ?? ?????? ?? ????? ?? ??????? ?????? ? ???????? ???? ????????? ???? ?????? ?? ????? ?? ??? ?????.
???? ?? ???? ??? ????? ????? ?? ?? ??????? ??? ???????? ????????? ???? ????? ????????? ?? ??? ?? ????????? ??????? ??? ???? ???????.
?????????????? ??? ??? ?? ????? ?? ???? ??? ?????? ????? ? ???? ????? ?? ?? ???? ? ????? ????? ??? ?? ?????? ???? ? ?????? ?? ???????? ?? ??? ????? ??? ?? ?? ??? ????? ? ???? ????? ???????? ?? ?? ????? ?????. ?????? ???????? ??????? ????? ???? ???? ???? ?? ???? ???? ????? ??????? ?? ?? ???? ? ????? ????? ??????.
?????? ??????? ???? ????????? ?????? ???? ??????? ? ???????????????? ?? ???? ?? ???? ?? ?? ???? ???????? ?? ?? ??? ??????. ?? ???? ????? ???? ?????? ????????? ?? ??????? ?? ????? ????????? ?? ???? ??? ?? ?? ?????? ??????. ????? ??? ???? ?? ???? ?????? ???? ???? ?????"?? ?????"????????? ?? ???? ??? ??? ???????.
?? ???? ????? ????? ?????? ??????? ??????????? ? ????? ????.
?? ???? ? ??????? ????? ? ?? ????? ?? ????? ???????????? ???? ??? ??????? ? ?? ????? ?? ??? ?????? "?? ??? ?? ??". ????? ?? ??????????? ?????? ??? ???? ???? ?? ?? ????? ???? ????? ?? ????? ?? ?? ???? ??? ??? ???????? ???.
???? ?? ?? ???? ???? ???? ???????? ?? ????? ???? ?? ???? ?? ??? ?????? ???? ??????? ? ?? ??????? ?? ???? ????????? ???? ?? ?? ???? ???? ????? ???? ????? ???.
?????? ????????? ???? ??? ??? ?? ?? ?? ?? ??? ?? ????? ??????? ????? ??????? ???????????????? ?? ?????? ??? ?? ???? ???????? ??? ?? ?? ??? ??? ??? ???? ?????.
???? ??? ?????? ?? ??? ?? ?? ?????? ???? ????? ??? ??????? ??????? ???? ?? ????? ???? ?? ????????? ???? ??????? ?? ????? ?????? ???? ? ????????? ?? ??? ??????.
????? ???????? ??? ?? ??? ???? ?? ???? ????????? ???? ?? ???? ?????? ????? ??? ??????.????? ????? ????? ????? ??? ????? ???? ?????... ??????? ??? ?? ??? ??????? ???? ??? ? ???? ?????? ????? ?? ?? ??? ?? ?????? ???? ?? ????????????????? ???? ????????? ?? ????? ????? ???? ??? ?? ???? ????????? ?? ???????? ????.
? ????? ????? ?? ???? ? ?????? ?? ?????? ?? ????? ?? ??????? ?????? ? ???????? ???? ????????? ???? ?????? ?? ????? ?? ??? ?????.
September 22, 2022
This is a very difficult story to understand. However, I think that the symbolism of the cave as a setting from the perspective of Jungian psychology can help. It is the shadow, the darkest side of the protagonist's ego that he is imprisoned in, and those heathens are more or less his alter egos. Their brutality and physical violence are actually what he himself wishes to endow upon the world, not only his world, but the entire world. He is absurdist to the point of bloodshed, no wonder the story opens and closes with him waiting for the new missionary to kill him. I gave it 4 instead of 5 because of its utter ambiguity; Camus is not giving a single clue to help his readers understand the complexity of his ideas.
September 3, 2023
It tests you. Your faith it really does imagin yourself in his shoes and surrounded by evil, pain and vile intent. Will you still belive in an all loving existance who loves you. How can it be when you are facing such hardships?
May 31, 2021
A mad man rages against "The Party". I liked the imagery here: "...because they alone had the daring to build in the salt and the sands a cold torrid city. And I..." As in, "I" am conflicted therefore "I" am entering madness. There comes a point we all have to decide it's time to give up on "The Party" that really is acting in a way not beneficial to us. (Although we might like a reach around every now and then.)
November 15, 2024
Tout pareil quand je manque de sommeil perso
March 29, 2017
* Lugares:
-Argel, Argelia.
-²Ñ²¹±ô¨ª.
-Grenoble, R¨®dano-Alpes, Francia.
-Macizo central, Francia.
* Ambientes: Desierto, templo.
* Figuras recurrentes: Ap¨®stata, cautivo/a de indios, misionero/a, indio/a.
-Argel, Argelia.
-²Ñ²¹±ô¨ª.
-Grenoble, R¨®dano-Alpes, Francia.
-Macizo central, Francia.
* Ambientes: Desierto, templo.
* Figuras recurrentes: Ap¨®stata, cautivo/a de indios, misionero/a, indio/a.
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