Assignment 210(A): Research project Writing (Dissertation Writing)

 

Assignment 210(A): Research project Writing (Dissertation Writing)

Comparative Analysis of Meursault, Svidrigailov, and Gregor Samsa: 

The Absurd, the Existential, and the Nihilistic Characters Across Camus, Dostoevsky and Kafka's Novels

Conclusion of my dissertation 

Name: Avani Jani

Roll No.: 3

Enrollment No.:  4069206420220014

Paper no: 210 (A)

Paper code: 22417

Paper name: Research project Writing (Dissertation Writing)

Sem.: 4 (Batch 2022- 2024)

Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University

Research on Dostoevsky's famous novel Crime and Punishment often gets it wrong. Some scholars label it as an "absurdist" work just because the main character Raskolnikov murders the pawnbroker, seemingly to make a big impact on society, like Napoleon did. However, this misses several important details. Raskolnikov lives in a tiny, cramped room that feels like a coffin - he is clearly very poor. He steals valuables from the pawnbroker's wife and hides them, but never tries to sell them or use them. Even though he is poor, he has no interest in the stolen goods. Raskolnikov's observations of other people can seem contradictory at times, and his own behavior often appears absurd. But these contradictions show there is more to explore psychologically. This dissertation aims to show that Crime and Punishment is a nihilistic novel, not an absurdist or existential one. It also aims to identify what makes the character Arkady Ivanovich Svidrigailov a nihilistic figure. By examining these details, the true nihilistic nature of the novel becomes clear.

             Despite achieving a general consensus as a minor classic exploring alienation, Albert Camus's The Stranger continues to spark debate regarding its core message. The novel undeniably captures a quintessentially modern experience: the stark divide between societal expectations and the authentic self, along with the perceived meaninglessness of rituals that have historically served to unite humanity. Literary scholars, however, delve deeper than surface interpretations. They often view Meursault as a complex figure embodying potential dangers of the modern individual. This character, in their eyes, exemplifies a tendency to unquestioningly accept prevailing societal norms, lacking personal conviction. However, critics struggle to reconcile these interpretations with the novel's entirety. They often prioritize aspects that align with their existing beliefs while neglecting others. Their aim seems to be not necessarily to vindicate Meursault, but rather to elevate Camus into a more established moral authority – a role he likely didn't hold, at least not definitively, when he wrote The Stranger.

            Philip Thody  argues about The Stranger that it is a "Story—the man who refuses to justify himself. Other people prefer their idea of him. He dies, alone in his awareness of what he really is—Vanity of this consolation."

    The Stranger raises questions about morality while referring to the concept of Absurdity, as discussed in Chapter 4, "The Logic of the Absurd: Unveiling Meursault's Philosophical Rebellion." This chapter explores how Meursault's behaviour reflects the absurdity of existence. However, this very behaviour raises moral questions, which is likely why Camus attempted to refocus the criticism in 1955 when asked to write a brief Avant-propos for the school edition of ‘L'Étrang’. He makes clear by writing 

“Meursault for me [Camus writes] is not a piece of human wreckage, but a man who is poor, naked and in love with the sun which leaves no shadows. Far from being lacking in all feeling, he is inspired by a passion which is profound because unspoken, the passion for the absolute and for truth. It is still a negative truth, that of being alive and experiencing life, but without it no conquest of oneself or of the world will ever be possible. One would not therefore be much mistaken in reading L'Étranger as the story of a man who, without any heroics, accepts to die for the truth.” (Camus )

Meursault's execution for killing an Arab presents a paradox, isn't it? This outcome embodies the very absurdity that the novel explores. The ending, however, hints at a flicker of hope within the existential philosophy. But the as  Ralph Waldo Emerson has written that “it's not always about the destination it's about the journey”  The Stranger is not solely defined by its ending, but rather by the journey that leads Meursault to that point. His absurd characteristics pave the way for the novel's existential conclusion, suggesting that the core of The Stranger lies in the concept of absurdity rather than existentialism.

A close look at Franz Kafka's famous story "The Metamorphosis" has provided valuable insights into the existential themes explored through the character of Gregor Samsa. Through careful analysis, we dove into the existential questions about meaning, freedom, responsibility, and alienation that arise from Gregor's transformation into an insect. Throughout our investigation, it became clear that Gregor's metamorphosis acts as a way to explore the absurdity of human existence. His sudden and unexplained change into an insect highlights the absurdity of life, showing the stark contrast between society's rational expectations and the unpredictable nature of reality. In dealing with his new identity, Gregor faces the existential loneliness and isolation that come with his transformation, reflecting the fundamental solitude inherent in the human condition.

Furthermore, our study revealed how Gregor's existential journey differs from typical portrayals of the absurd and nihilistic hero. Unlike the absurd hero, Gregor's search for meaning is not defined by defiance or rebellion against the universe. Instead, it is marked by a poignant yearning for connection and understanding, underscoring his resilient humanity. Similarly, Gregor's refusal to succumb to despair sets him apart from the nihilistic hero, as he clings to hope amidst the chaos.

In light of these findings, it is evident that Gregor Samsa emerges as a complex character, emblematic of the existential struggles prevalent in Kafka's work. His metamorphosis serves as a poignant allegory for the human condition, prompting readers to contemplate life's mysteries and the quest for meaning in an uncertain universe. As we reflect on our journey through "The Metamorphosis," we are reminded of the enduring relevance of Kafka's masterpiece and its profound exploration of existential themes that still resonate with readers today. Through Gregor's odyssey, we are invited to confront fundamental human questions and ponder the elusive nature of meaning in an ambiguous, absurd world.

As Charles Mills Gayley mentioned   that “literature as a distinct and integral medium of thought, a common institutional expression of humanity; differentiated, to be sure, by the social conditions of the individual, by racial, historical, cultural, and linguistic influences, opportunities, and restrictions, but, irrespective of age or guise, prompted by the common needs and aspirations of man, sprung from common faculties, psychological and physiological, and obeying common laws of material and mode, of the individual, and of social humanity”.(Gayley)

This dissertation has also compared these three narrator with distinct and integral medium of thought, a common institutional expression of humanity; differentiated, to be sure, by the social conditions of the individual, by racial, historical, cultural, and linguistic influences, opportunities, and restrictions, but, irrespective of age or guise, prompted by the common needs and aspirations of man, sprung from common faculties, psychological and physiological, and obeying common laws of material and mode, of the individual, and of social humanity factors. 

In concluding our dissertation journey, we reflect on the profound insights gained from analysing existential themes in literature through the characters of Meursault, Svidrigailov, and Gregor Samsa. Our exploration aimed to bridge gaps in understanding how these characters embody existential philosophies, shedding light on their complexities.

Beginning with Svidrigailov from "Crime and Punishment," we delved into nihilism's portrayal. His character highlighted the denial of inherent meaning, indulging in hedonism amidst moral ambiguity. Meursault from "The Stranger" then represented absurdism, navigating life's meaninglessness with indifference to societal norms. Finally, Gregor Samsa in "The Metamorphosis" embodied existentialism, grappling with freedom, responsibility, and the search for meaning in an absurd world. Literature, as we discovered, serves as a powerful medium to provoke introspection and challenge perceptions. Through our analysis, we gained a deeper understanding of existential thought and its relevance in portraying the human condition. As we bid farewell to our literary companions, we carry with us the lessons learned and the appreciation for literature's ability to transcend boundaries and provoke thought.

In closing, our journey through existential landscapes reminds us of the enduring impact of storytelling in shaping our understanding of existence. It is a reminder of the transformative power of literature to provoke reflection and inspire empathy. As we move forward, we carry the wisdom gained from our exploration, ready to embark on our own existential journeys with renewed insight and appreciation.

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