The Sun Motif To Other Elements

Published Date: 02 Nov 2017

Lara Daham 001305-004

The use of the sun and climate in The Outsider by Albert Camus is one of the key devices through which the persona of the protagonist, Meursault, is perceived. Authors may use motifs in various ways, however they are all essentially used to highlight recurring ideas. Camus chooses to focus on sensuous language, diction and personification in conveying the effects of the sun, the central motif in the novel. This essay will examine how these literary devices influence the protagonist, Meursault.

From the onset, sensuous language is effective in conveying the effects of the sun motif. As he is on his way to his mother’s funeral, Meursault describes a room that "[bathes] in beautiful late-afternoon sunshine" (Camus 13). The words "beautiful" and "bathes" both provide positive images, appealing to the visual and tactile senses. "Bathing" connotes ideas of cleansing and purity, and "beautiful" to the general atmosphere provided by the sunshine. Despite the occasion of his visit and the day of mourning that lies ahead of him, pleasant images abound. This suggests the independence of the sun to worldly events, shifting the focus from the unhappy funeral to the positive images of the sun, which shines kindly on Meursault. However, the sun is also unpredictable; it follows its own path and thus the sun acts as a bearer of doom and foreboding. As soon as Meursault arrives at the home to keep vigil over his mother’s body, "the sun [darkens] rapidly above the glass roof" (Camus 14). The gloomy image of "darkens" implies that Meursault is now in a more sombre state, which mirrors the deathbed of his mother.

The association of the sun motif to other elements such as honesty is evident in that the sun illuminates and clarifies everything to Meursault. Throughout the novel, the continuous depiction of the sun suggests that Meursault prefers honesty as, "every object, every angle and every curve [stands] out" (Camus 15) in the sun. This attention to detail accentuates the virtue of honesty and the idea that everything is either black or white to Meursault. In the sun – in the absence of concealing shadows and deception – he sees things for what they are. The honesty is conveyed through the means of diction and appeals to the tactile sense as it is conveyed through the use of cleanliness. Cleanliness is important as it is depicted on numerous occasions. "Bathing" (13), "showers" (Camus 97) and "[Meursault] [can] feel the sun peeling away the last few layers of water" (Camus 52) all provide images of being pure and clean, and unfettered by the unwanted. The use of sensuous language highlights the importance of purity and honesty through imagery, and suggests to the reader that these are important virtues for Meursault.

During the event where the protagonist encounters the Arab, sensuous language is particularly effective in conveying the impact of the sun. The Arab lies "in the scorching air" (Camus 59) and at this moment, the sun shines particularly on the Arab as if to make him more visible to Meursault. The author’s use of sensuous language to appeal to the tactile sense is particularly effective here as "the scorching air" reflects the intensity of the situation, as well as the pressure Meursault feels. During difficult scenarios, such as this encounter with the Arab, the diction changes as Meursault’s "eyes [are] blinded by this veil of salty tears" (Camus 60). This negative and uncomfortable connotation of words such as "blinded" and "salty", highlight the tension and discomfort that Meursault feels in this situation by appealing to the tactile sense. He realises that he "only [has] to turn around and it would all be over" (Camus 59), but the sun "[presses] against [him] from behind" (Camus 59). Here, Camus twists the association of the sun – previously with honesty and purity – to now something ruthless and dark. The sun induces these feelings as if to make him more inclined to commit the crime and kill the Arab. At the trial of his crime, he explains that his deed "[is] because of the sun" (Camus 99). Ultimately, his actions and his decisions become interlinked with the influence the sun has on his behaviour.

As the sensuous language provides the reader with certain images and emotions, it alters the tones and ambiances that exist throughout the novel. Meursault often speaks of the sun in terms of the environment and the general atmosphere that it creates, "it [is] a beautiful day" (Camus 17). This beautiful day is depicted as he is on his way to the funeral. The tone at that stage in the novel does not reflect the seriousness associated with the journey; the sun thus acts as a device that lightens the tone. Later on, at the beach with Marie, Meursault describes how "he [has] the whole sky in [his] eyes and it [is] all blue and gold" (Camus 24). Here, Camus illustrates the sky as "blue" and the sun as "gold". Gold is a metaphor for the sun and refers to something of high value, and this reflects the high regard and appreciation that Meursault has for the sun. The words "beautiful" and "gold" provide a light tone and suggest a carefree feeling in Meursault. During other occasions, the sun acts in an antagonistic way, as Meursault, "[tenses] [his] whole body in defiance of the sun" (Camus 58). Meursault’s "defiance" sets an uneasy tone by providing a feeling of being restricted and consumed by the sun. It can therefore be concluded that the sun assumes various shapes with which the tone is altered.

The use of the sensuous language and imagery leads on to the personification of the sun. The personification is highlighted by provoking changes in Meursault’s behaviour, as well as affecting the tone. As the sensuous language changes throughout the novel, it suggests that the sun is personified differently depending on setting and situation. Meursault claims that the sun during the encounter with the Arab "[is] the same sun as on the day of [his mother’s] funeral" (Camus 59), however, when he is at the beach with Marie "he [has] the whole sky in his eyes and it is all blue and gold" (Camus 24). From the novel it is evident that the different forms the sun assumes affect Meursault accordingly. The sensuous language thus conveys the personification as it gives insight into Meursault’s various attitudes as well as his feelings towards a particular form of the sun. The sun is also personified to different extents in the novel. During the intense meeting with the Arab the sun assumes greater significance and is associated with cacophonous sounds from words such as "clashing" (Camus 60) and these echo or mirror the unease Meursault feels. Therefore, as the sun is depicted more thoroughly by use of sensuous language, it intensifies the tone and the influence of the sun on Meursault.

In analysing the way in which Camus uses sensuous language, imagery and personification, it becomes clear that the intention is to convey the intimate bond between the protagonist, Meursault, and the sun. The sun is used to express Meursault’s inner spirit, and at times creates an atmosphere which even provokes him to commit a crime, highlighting his obedience to the sun. The sun is personified not only in Meursault’s behaviour, but also in that it mirrors the different tones throughout the novel. The recurrence of the imagery of the sun underpins Meursault’s conviction that the sun is omnipresent and true – a virtue which is vital to Meursault as we learn that he is ultimately willing to "die for the truth" (Camus 119).

Work Cited

Camus, Albert. The Outsider. Trans. Joseph Laredo. London: Penguin, 1982, Print.