Honesty: Is it more relevant than we think?
I shook off the sweat and the sun. I knew that I had shattered the harmony of the day, the exceptional silence of a beach where I’d been happy. Then I fired four more times at the motionless body where the bullets lodged without leaving a trace. And it was like knocking four quick times on the door of unhappiness. (59)
Here, Camus illustrates Mersault’s understanding of the foul decision that he just made, and his readiness to suffer its future penalties when awaiting “unhappiness” to greet him.
Mersualt’s willingness to endure his well-deserved consequences is furthermore supported in Part II of the novel. When Mersault is taken in, he meets his lawyer, and then explains:
He asked me if he could say that that day I had held back my natural feelings. I said, “No, because it’s not true.” He gave me a strange look, as if he found me slightly disgusting. He told me in an almost snide way that in any case the director and the staff of the home would be called as witnesses and that “things could get very nasty” for me. (65)
Despite the favorable outcome that lying or even slightly altering the truth may yield, Mersault is mentally prepared to accept the punishment for his decision. Camus has also helped convey this to the reader by making this scene extremely ironic. Because of his constant mental and physical separation from others, Mersault is frequently thought of as an isolationist, which may lead the reader to think of him as a non-conformist. However, in the aspect of morality and honesty, it can be said that Mersualt, the murderer in this case, is much more of a conformist than are the “innocent” members of society, such as his lawyer. It may seem odd that by this point in the novel the reader usually thinks of Mersault as the protagonist, since he possesses many flaws and lacks many of the crucial qualities that most people usually think of when they hear the term. This demonstrates how successfully Camus has portrayed the importance of honesty, and how vital it is to the principles of existentialism.
Jan: Do you realize that if anyone comes in then everything is lost?
Maria: But that’s our only chance. If I’m still here, I’ll make you tell them who you are. (7)
At this moment, Maria indirectly informs Jan about his choices; if he lets her stay, then than she may ruin the way he wants everything to turn out, but if she leaves, then he can handle his family business as he wishes. This also demonstrates dramatic irony because the reader knows that Jan is really better off if Maria stays with him. The characters first identify their options with before they can suffer for the ones that they choose.
After the characters have distinguished their choices, The Old Man often occurs in scenes in order to symbolize the vast amount of chance or uncertainty in them. A good example that may clarify any confusion about him is when he appears at the door, causing Martha to look at him instead of the passport. He emerges into the play whenever a decision that leads a significant outcome is going to be made, and represents its chance and unpredictability. This is additionally supported by his presence in scene eight where Martha and Mother are in Jan’s room still disputing the question of whether or not to kill him. The chance that he represents in this scene is not only how the argument will turn out, but also the chance that neither of the two women will see him take Jan’s passport.
In this play, Martha and Mother recognize their choices, as does Mersault in the novel. After they find out who their victim really was, they were eventually both willing to accept the consequences. First, Mother realizes what a horrible choice she has made, and openly decides to suffer in result. Even though Martha is not directly affected by the death of her brother, who she barely knew, she is severely impacted by her mother’s reaction and ultimate decision to end her life. This is the real consequence for her actions, which she truthfully accepts: “I shan’t pray. The prospect of death won’t turn my eyes to heaven… I’ll stand alone, surrounded by my crimes” (44). She is suggesting that she will do nothing to try and conciliate the miserable outcomes of her decision. She reinforces this with being very straightforward and honest when Maria asks about her husband: “He’s dead and we killed him. But at least he didn’t suffer” (46). Whether it is in the form of action or dialogue, both Martha and Mother reveal their preparation for consequences bluntly and honestly.