Internal Conflict In The Stranger

Albert Camus’ The Stranger depicts an apathetic narrator’s journey to self-discovery while on death row. Throughout the novel, Camus utilizes personification of the sun to display the narrator’s gradual evolution towards electing to experience emotions, rather than suppressing them. As Meursault experiences societal pressure to display grief over the death of his mother, love for his girlfriend, and remorse for the gruesome murder, the sun becomes an aggressive force that has a physical effect on him. Gradually, as those around him begin to disappear, the sun becomes a soft force, driving anxiety and discomfort instead of searing pain. Camus personifies the sun through a man versus nature conflict to represent Meursault’s internal conflict

He fails to recognize that his imprisonment is a punishment until he is forced to quit smoking. However, his delayed reaction allows him to realize that he “had gotten used to not smoking and it wasn’t a punishment anymore,” (78). Meursault’s inability to recognize the severity of the situation highlights his inability to recognize societal norms and reinforces his apathetic nature. Camus utilizes the lonesome setting of the prison to force Meursault into becoming more empathetic. A primary example of this can be seen prior to the trial, where Meursault is content in his surroundings. Marie visits frequently, allowing Meursault to vicariously experience her idealistic vision of the future. The depiction of the couple frolicking on the beach, basked in sunlight, contrasts the darkness of Meursault’s actual situation. Following the trial and Marie’s absence, the only company available to Meursault, the Chaplain becomes his only link to the real world in his determination to convert Meursault to a believer before his death. Gradually, Meursault’s apathy subsides, beginning with general annoyance before he experiences an emotional breakdown. The Chaplain, who had become determined to convert him into a believer before his death, had become the only member of society who had yet to abandon him. After multiple visits, Meursault states that he does not understand why, but he “started yelling at the top of [his] lungs, and [he] insulted him and told him not to waste his prayers on [him]…[He] was pouring out on him everything that was in [his] heart, cries of anger and cries of joy,” (120). The emotions displayed within this scene allow Meursault to completely rid himself of all his ties to society, and thus all expectations to display grief. It is