In the wake of World War I, Andre Malraux and Andre Gide rose to prominence in the early existentialist movement. While Gide attained more literary acclaim among his contemporaries, Malraux also left a lasting impression by challenging established notions of morality and ethics through his writings. This period offered France a brief relief from the demanding process of rebuilding.
The French society in the belle epoque era rejected fake and snobbish behaviors of naturalism and embraced more open values. Consequently, the society leaned towards living a hedonistic lifestyle. It was expected that literature and other art forms would accurately capture the free spirit of this time. Yet, it would be unfair to only see Malraux's major works as mere depictions of social wealth and splendor. His novels, particularly Les conquerants and L’espoir, also contain elements of political awareness.
ify">The author's earlier works show a clear disregard for oppressive social systems like Fascism and Nazism due to his adventurous nature. Additionally, his works skillfully blend historical chronologies with existentialist elements when exploring themes of war, natural disasters, conflicts between individuals, and death (Barnes, 116). This essay will analyze the existentialist qualities present in Malraux's Les conquerants and L'espoir, and compare these significant works to those of Jean-Paul Sartre and Albert Camus.
Scholars and readers often ponder whether Malraux can be considered an existentialist along with Dostoevsky, Kafka, Sartre, and Camus. These authors frequently explore the theme of freedom and choice, influenced by the ideas of Karl Marx. Their works delve into metaphysics to critique the aesthetics of life, without promoting politicization of art (redbubble 2009).
The portrayal of individual desire
without conforming to a logical pattern is more emphasized in existential literature compared to the works of its precursors like Malraux. In both Les conquerants and L’espoir, Malraux evaluates his characters based on their involvement in radical movements. (Barnes, 117)
An artist's main duty is not to obsess over their artwork, but rather to foster a creative atmosphere that encourages diverse forms of expression. Andre Malraux's staunch opposition to Fascism and Nazism, along with his emphasis on Marxism, had adverse effects on Les conquerants. Consequently, the novel was prohibited in Russia and Italy for a considerable period. Taking place in Canton and Hong Kong in the mid-1920s, this book presents a vivid portrayal of the devastating consequences of war and violence while providing an unbiased account of the Chinese revolution.
The author, KB (2009), explores the concept of human immobilities and their contrast to optimism and moralism. Through the character of Pierre Garine, a Swiss protagonist, Malraux presents a unique blend of sensibility and sensitivity that aligns with pre-existential norms of thinking. Despite being a generally pessimistic individual, Garine's dedication to serving less-privileged Russians deviates from the typical approach of existential literature. Instead of portraying his protagonist in a negative and bleak light, Malraux injects messages of hope and personal redemption.
Garine lacks any interest in political beliefs and is not motivated to oppose the oppressive Chinese regime. However, it is his undefined sense of humanity and sympathy for others that drives him to fight for the oppressed Chinese people. This same quality can be seen in Ivan Kaliayev, the protagonist in Albert Camus' Les Justes. Despite his strong desire for peace
and order, Kaliayev chooses to assassinate the tyrant to save millions of lives in Russia. Unlike Garine, Kaliayev prioritizes saving lives over his own self-preservation.
Garine exhibits a pre-existential disposition, while Kaliayev grapples with existential dilemmas and uncertainties. Despite their differences, Camus and Malraux both emphasize mankind's innate fear of death and disappearance in their philosophical backgrounds (eScholarship 2007). Connecting war with personal crises was a prevalent theme in pre-existential literature, as seen in Malraux's simplified portrayal of the revolution in L'espoir.
The Spanish Civil War extensively discusses the nature of collective conflicts in warfare. L’espoir, a significant literary work by Jean-Paul Sartre, explores the perpetual struggle between loyalty to humanism and self-commitment, similar to Sartre’s Les Mouches. This play intelligently combines core existentialist elements like the ambiguous concept of freedom and penitence with the partially pre-existential idea of political authority and collectivity, effectively connecting history with literature.
The writings of Malraux, Camus, and Sartre demonstrate that existentialism does not have a fixed definition. According to Camus, existentialists should concentrate on comprehending humanity's position in the universe and the absurdities that accompany it. Any claims or beliefs that surpass reality are inconsistent with existentialism.
Humanity should be seen as individuals in a social order by chance rather than predetermined patterns. Dora's transformation in Les Justes shows her longing for a society based on individualism. Camus uses this incident to suggest that there is no fate when God is either absent or insignificant. Thus, Dora takes charge of her own life, defying Malraux's pre-existential beliefs.
The lack of clarity in purpose and dilemma experienced by Garine not only impedes his own
progress but also confuses those around him. In contrast, Sartre's emphasis in Les Mouches is on individual loyalty. His philosophical doctrine is commendably straightforward, especially considering the intricate and demanding nature of our discussion. A thorough examination of Les Mouches demonstrates Sartre's exploration of the concept of 'bad faith' and the improbability of a 'loyal traitor' existing.
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