Showing posts with label Albert Camus - The Rebel. Show all posts
Showing posts with label Albert Camus - The Rebel. Show all posts

Saturday, March 12, 2005

Camus plays

Camus' plays are harder to obtain than his fiction - obviously they are not viewed to be as literarily important. I am still looking for a copy of his play-version of The Possessed, although I will probably read the big book before I get too serious about this search.

Of the plays in this collection, Caligula and The Just Assassins are the most important to his philosophy and indeed, the better written. Caligula represents a perversion of unquestioned Christian values. He operates alongside Mersault in Camus' philosophy of the Absurd. For some reason, I feel like there is something quite admirable about this Caligula. Despite all he does, it seems like he really does just want "the moon" (contrast to Mersault's Sun), and the inauthenticity of the characters around him draws little sympathy for all he puts them through. There is a resemblance between the way Caligula and Hamlet approach their destinies. In light of a modernist anguish, a deprivation of meaning, they manipulate the world around them in an attempt to find something tangible.

Here is a poster I have framed and in my room - was done in poland I think to advertise a performance of Caligula.



The Just Assassins consumates the philosophy presented in The Rebel. It retells the (true) story of the assassination of a Duke, the perpetrators failing in a prior attempt because they refused to attack while he was around his niece and nephew. For Camus, the refusal to sacrifice innocents is important for the Rebel - who wants all or nothing. As a french-algerian, Camus believed in the rights of the native Algerians, however refused that it was necessary to attack innocent settlers in order to gain their independence.

The misunderstanding is an attempt by Camus to write a tragedy in the style of Oedipus. As a result, it reads more like a literary experiment - frankly, something that might be written as a text response by a Year 12 student. A son returns home only to be killed by his sister and mother, because he neglects to tell them who he is. There is a very nice sentiment conveyed here which I think is worthwhile, something which comes through in Kafka stories like Metamorphosis, The Trial and the Castle.

We hold onto a naive belief that many of the problems we face arise as a result of misunderstanding. If we can just express ourselves clearly enough, get in contact with the right people, then our problems will be resolved.

This is certainly a trap I find myself falling into, it's hard just to accept that some things cannot be communicated, and it's better to shut-up than to dig yourself into more and more misconceptions. Sometimes it's a sad thing to realise.

State of Seige is somewhat similar to The Plague. Camus liked to write A Novel, an Essay and a Play to explore the same idea. In this play, a plague is used as an excuse to implement a totalitarian regime. It is reasonably unremarkable - perhaps not refined as was the case with The Plague.

Thursday, January 13, 2005

the brothers karamazov

The Brothers Karamazov is not as famous as Crime and Punishment, although it is probably more important philosophically, its themes referred to throughout various essays. Two examples that come to mind are the Sartre paraphrase "If God is dead, then everything is permitted" (attributed to Dostoevsky as a quote but Sartre said it this way, not him) and the story of a boy being mauled by a dog - the "is this evil necessary?"/god existence dilemma.

These two examples are both presented in the story through Ivan Karamazov, and indeed, Camus refers to Ivan throughout The Rebel. A particularly nice (Camus) quote is "All the truth in the world is not worth a child's tears" - Ivan's level-headed philosophy, which Camus believed represented the real views of Dostoevsky.

So there is all that to bear in mind - the story is beautiful. It is a big book, however it is very enjoyable to read, and one sees elements of this story arise in other literature. The court case, of patricide (perhaps alluded to in The Outsider) is particularly enthralling, although it is perhaps just an excuse for Dostoevsky to write long showy speeches.

The three brothers, quite shamelessly manifest the heart, the mind and body. Alyosha (the heart) is such a beautifully innocent character that one can't help but admire his goodness. Classic Dostoevsky trademarks are present, in particular the madness which consumes Ivan (madness is a necessary consequence of all Dostoevsky's characters who cease to believe in God... not to be confused, although reminiscent, of Nietzsche's madman).

Finding a good translation, I think, is important. Some of the sayings, e.g. "One reptile will devour the other" must have quite a bit of room for interpretation, another translation reads "Viper eats viper..." and one American book I read was filled to the brim with the word gotten.

Whilst I enjoyed this book far more than Crime and Punishment, if recommending one or the other, I would probably defer to Crime and Punishment. It more clearly executes an idea that is important historically, whereas Brothers Karamazov is more a nice story with a few philosophical side-investigations.