How Do Octavio Paz and Albert Camus Convey Their Respective Views on Death Free Essays

How do Octavio Paz and Albert Camus pass on their separate perspectives on death? World Literature 1 22/08/2010 Many parts of death are considered and addressed all through Octavio Paz’s sonnets, the two I have decided to especially concentrate on are Plain and Near Cape Comorin. Albert Camus has additionally thought about the part of death inside his novel, The Outsider. The title, The Outsider is imperative to the content, as it reflects numerous parts of the author’s life. We will compose a custom paper test on How Do Octavio Paz and Albert Camus Convey Their Respective Views on Death or on the other hand any comparative point just for you Request Now David Simpson clarified that ‘Camus lived the greater part of his life in different gatherings and networks without truly being of them’ (iii). This additionally shows similitudes among Camus and the hero, Meursault, as all through The Outsider, Meursault appears to kill every one of his feelings permitting himself to watch his own life as a ‘outsider’. Be that as it may, Camus was conceived as and raised to be an outcast, while Meursault accept his disconnected, individualized life himself. Both Camus and his hero share an existentialist view on death, this is apparent in the novel The Outsider. While Paz shows a progressively positive position on death. Both Paz and Camus pass on the thought that demise is an inescapable result of life, anyway they approach this in altogether different manners. While Camus takes a negative perspective on death, hauntingly reflected in his protagonist’s irreverent, unfeeling demeanor towards his capital punishment, Paz compares pictures of death and rot, with that of magnificence, and nature. Plain is soaked with sexual symbolism, in any case, it is shown to the peruser in an odd way, recommending that life imparts an inherent connect to death. Instinctive symbolism, for example, that of ‘decapitated phalluses’ and a spouting ‘open wound’ would ordinarily point towards mortality, however the nearness of sexual symbolism differentiates this idea as, sex is illustrative of the fulfillment of life. Camus presents a comparative idea in The Outsider; as he verbalizes the possibility that the main certain thing in life is the certainty of death, and, in light of the fact that all people will in the long run meet demise, all lives are for the most part similarly good for nothing. This hypothesis shows itself in Meursault’s indifferent reaction to his own approaching demise. While during his preliminary Meursault latently watched the decisions leveled against him, in jail he starts to consider the reality of his unavoidable passing. He starts to consider his to be as having a past, present, and future, and presumes that there is no contrast between passing on soon by execution and biting the dust decades later of common causes. This disclosure comes about when Meursault encounters a feeling of freedom in his prison cell. His passionate upheaval towards the minister, ‘hurl[ing] affronts at him’ (124), differentiates colossally against the unpolished, emotionless opening sentence ‘Maman kicked the bucket today. Or on the other hand yesterday perhaps, I can’t be sure’ (11). While anticipating his execution, Meursault makes the last stride in the improvement of his cognizance. This limit with respect to self-examination is another advancement for Meursault, and it stands out incredibly from his degree of mindfulness prior in the novel. This is critical, as it catalyzes his self edification, improving his attitude into that of an existentialist. Meursault’s way to deal with death, and in actuality his whole conviction structure focuses to that of a person with a flippant position on life. He is neither good or shameless, he essentially doesn't make the differentiation among great and terrible as far as he could tell. His experience with the cleric presents the peruser with a reasonable twofold inverse; separating between a levelheaded, Christian arrangement of conviction and that of Meursault who will not capitulate to Christianity. Meursault reasons that the universe is, similar to him, absolutely not interested in human life. He concludes that people’s lives have no stupendous significance or significance, and that their activities, their comings and goings, have no impact on the world. This acknowledgment is the finish of the considerable number of occasions of the novel. When Meursault acknowledges ‘the benevolent apathy of the universe,’ (127) he discovers harmony with himself and with the general public around him, and his advancement as a character is finished. Paz poses comparable philosophical inquiries in Near Cape Comorin; utilizing the main individual to logically ask: ‘Am I a lost soul or a meandering body? In a similar sonnet he utilizes nature to pass on different components of religion, as it is generally realized that individuals search for answers in their beliefs. Hinduism is suggested, with references to ‘a troupe of asking monkeys’; conceivably a gesture to the Hindu divinity â€Å"Hanuman†. This is compared with references to Christianity, for example, the ‘cobra’ from Genesis; a paired portrayal of western versus eastern religion. Nature is likewise used to portray passing in Plain when Paz talks of ‘the humming of the flies’ suggesting rot. The topic of creepy crawlies proceeds as he makes reference to a sculpture of ‘a holy person painted blue and pink. From his left eye’ spilling ‘grey winged creepy crawlies that†¦ fall went to dust’. This once more, tastes of death and rot; making in the reader’s mind, the picture of a spoiling body. This is unmistakably compared with the sprightly shades of the ‘saint’ which could themselves speak to the sexual orientation generalized garments given to infants. Finally, passing itself is evoked with the exemplification by Paz, of a ‘a flying creature wearing black’. This is a normally utilized image of death, and the idea that the ‘bird flies in circles’ focuses to the recurrent idea of life and demise. This feathered creature, be that as it may, may likewise be utilized to depict trust as it ‘rests on the main living tree’ indicating trust in the protection and search of life. This expectation is likewise present in The Outsider in light of the fact that once Meursault excuses his apparent distinction among execution and common passing, he should manage the idea of expectation. Expectation just torments him, since it makes the bogus deception that he can change the reality of his demise. The jump of expectation he feels at having an additional twenty years of life keeps him from taking advantage of his last days or hours. Expectation upsets his quiet and understanding, and keeps him from completely dealing with his circumstance. By utilizing symbolisms of religion, nature and sex, Paz makes a generally uplifting point of view toward death, in distinct resistance to Camus’ sensational, aloof position on death. Through Meursault’s activities, Camus certainly challenges society’s acknowledged good commitments, which express that one ought to lament over death, particularly for a friend or family member or relative. Since Meursault doesn't lament, society classes him as a pariah, a potential danger, a man with ‘a criminal mentality’ (105) and stands ‘no place [within] a community’ (108). Meursault’s outlook and conceivably that of Camus is moved to his perspectives on death; sees which fit into an existentialist perspective. Paz likewise depicts demise as an unavoidable result of life nd presence, as exemplified by the evil fowl, ‘dressed in black’, flying in tedious circles, arriving on ‘the just living tree’ apparently as a sign of its unavoidable passing. (1,133 words) Bibliography: †¢ Camus, Albert (1971) L’Etranger, (made an interpretation of from unique French to English by Stuart Gilbert,) London: Heinemann Educational Books Limited †¢ Paz, Octavio,. 1979. Chosen sonnets. A bilingual version. Middlesex: Penguin Books Ltd †¢ Simpson, David â€Å"Themes and Ideas: iii) The Outsider,† The Internet Encyclopedia of Philosophy, http://www. iep. utm. edu/camus/ Step by step instructions to refer to How Do Octavio Paz and Albert Camus Convey Their Respective Views on Death, Papers