The Greatness Of A Street Car Named Desire Essay Example

to detach Meursault from the action by saying "the trigger gave," creating even more insulation against intent or consequence, and ultimately absolving Meursault of blame.

Harrison presents an alternative interpretation of The Outsider, which offers a thought-provoking insight into the human condition and the choice to take another's life. The ambiguity of the text allows for both perspectives, which may reflect the author's own confusion around existentialism, despite his association with the movement. Against the backdrop of Europe's twixt-wars 'malaise' and residing in restless Algiers, The Outsider reflects these societal tensions. Camus' statement, "one life is as good as another," stands in stark contrast to the conclusion of A Streetcar Named Desire, where Blanche is sacrificed for the betterment of others. Meursault faces death, leaving us to ponder a sympathetic or ironic interpretation of his actions, as neither the reader nor the characters can justify them.

According to Kell, Camus uses death as a symbolic conclusion to the novel, signifying that the characters have reached their true identities. Bri?? e and Lynes support this idea, asserting that death emphasizes the value of life. Camus emphasizes this further through Meursault's rejection of the priest's belief that death offers hope because life is inadequate.

Meursault becomes angry when the priest talks about wishing for a 'better life' and 'living like a dead man'. Meursault thinks it's ridiculous to claim that death is better than life. He realizes that death actually reveals the beauty of existence and proves that he has truly lived. The light on Meursault's forehead symbolizes this realization. Meursault knows that death can't be approached in the same way as life, as it is "all or nothing" like

the lights at the start of the novel. It's either life or death.

The symbolism of decay being intertwined with evening beauty in the set of A Streetcar Named Desire is completely defied. It is representative of the coexistence of death and life. Unlike Williams' approach, Camus' perspective on death is more philosophical. This could be attributed to his preoccupation with Greek Philosophy. His lifelong goal of visiting Greece makes his philosophical inclination evidently clear. In 1937, Camus contracted tuberculosis which forced him to confront the inevitable reality of death. Prior to this, he had tried to derive meaning in life by embracing its varied experiences. Meursault's indifference toward Sundays is an example of subtle cynicism. On that day, he observes crowds of people engaging in different pursuits.

Meursault becomes annoyed as he watches the diverse layers of humanity disappear from the almost empty trams and deserted streets, which metaphorically represents Camus' struggle with acceptance of death. Meursault is mildly irritated upon hearing youths proclaiming the immortality of their team. In contrast, Blanche is physically sick with the memory of her husband's death. This demonstrates Camus' belief that death is a concept that affects our minds, while Williams believed it affects our everyday lives and physical bodies.

Although Blanche is accused of immoral behavior, her fear is not as intense as her fear of death. Williams portrays his belief through Eunice that "life has got to go on" despite societal pressures. Williams himself lived as a homosexual dependent on alcohol, struggling for acceptance and a better life. Unlike Camus, who recognizes death as the ultimate resolution, Williams does not see any escape.

From the outset, Meursault in The

Outsider appears to be unaware of death's inescapability, despite an abundance of metaphors that indicate a sense of being trapped. The route taken by Perez is representative of the human experience, with shortcuts available and options to wear a 'soft felt hat' or confront the 'sticky black tar' of mundane despair. However, regardless of the chosen path, death - symbolised by the sun - looms inescapably. Similarly, Blanche, like Williams, seeks to dodge the death that caused her to unravel at Belle Reve.

"Desire is the opposite," causing Blanche to become a puppet controlled by her lust. Ironically, her intense longings resemble a moth's attraction to deadly light, ultimately leading her to self-destruct. Williams contemplated titling the work "The Passion of a Moth," underscoring Blanche's attempt to evade death only to return to it. This interpretation implies that Williams and Camus shared an understanding of death as an inescapable fate.

It appears that being transformed by the struggle for survival is a prevalent theme in William's work. This suggests that Williams perhaps viewed himself as a fragile individual who was apprehensive of toughening up. Therefore, he wrote his plays as a cautionary tale for society. Similarly, in Meursault, Camus portrays a detached and almost inhuman character. Camus did not intend to influence people but instead hoped they would walk alongside him. As a result, Meursault is not a role model, but rather a representation of society's inability to accept life as it is lived.

Despite the fact that life is inevitably followed by death, Camus's character Meursault exemplifies how indifferent the world can be toward individuals. According to Camus, life's beauty lies in its mere existence, and

death - as the all-encompassing, ultimate solution - takes on an extreme beauty of its own. Williams shares this sentiment, although his empathy appears to come with an element of caution.

The concept of death is explored in A Streetcar Named Desire, with Blanche imagining it as something with a peaceful and clean connotation along with a reminiscence of her first love. However, Williams suggests that death only appears favourable when everything else has failed, as evidenced by Blanche's fear of death beforehand. Blanche holds herself culpable for her husband's death, which contrasts with the outsider's existentialist view that humans are responsible for their actions. Blanche believes that Stanley intends to harm her in the same way, exposing her susceptibility to his influence. Feminist reading of this work highlights Blanche's feminine vulnerability that causes her to seek help from other men whenever she is threatened by Stanley. On the other hand, those who have preconceived notions of prejudice will find the confrontation scene between Blanche and Stanley comical. Her vulnerability in the hands of men is comparable to her grief for the loss of southern heritage, which is in contrast to Stanley's practical interest in the estate due to his northern business orientation.

During Williams' time of writing, the North and South of America were reconciling and this presents a possible Marxist interpretation according to Bray. The concept of "transfer of papers" is crucial in the transition of society from the previous agrarian South represented by Blanche burdened by the past, to the postwar urban-industrial system where Stanley's class holds power. Camus' absurdist "living in the present" philosophy addresses the weight of the past. Nevertheless, The

Outsider still has Marxist implications such as the contempt for non-Algerians, "Parisians have all got white skin", and the assumed inferiority of local Arabs, indicative of a disorganized society resulting from capitalist colonization. This can be attributed to Camus' humble Algerian upbringing, instilling in him empathy for the grandeur and pathos of those in poverty. The Outsider explores Meursault's realization that death is an inevitable and positive aspect of life, one in which he allowed no external influence.

During a day at the beach, he became agitated by the unyielding sun, as he was unable to oversee his every aspect. This led him to the realization that he couldn't avoid death any more than the relentless heat. He acknowledges that whether or not the Arab dies immediately or later ultimately holds no significance in life's grand scheme.

By pulling the trigger, he acknowledges the certainty of death and embarks on a life of enlightenment until death. The theme of death permeates A Streetcar Named Desire as Blanche evades it only to ultimately confront it. Unlike Meursault, who associated light with death, Blanche saw it as a representation of life and truth. Despite this, she concealed herself from the light due to her past experiences with death.

Being trapped by inevitability, she ran away from it, stating "I don't want realism!" She remained hidden until the shadows were taken away. Camus also removes shadows in The Outsider, consistent with his lifelong dedication to pursue the truth. In Meursault's case, this revelation is beneficial as death is seen as good. Williams implies otherwise by removing Blanche at the end of the play, suggesting that hiding the truth - death -

may bring an easier life in return.