Flashcards for The Stranger

Céleste

Céleste owns the restaurant where Meursault dines almost daily, embodying a rare warmth and uncomplicated loyalty in a story largely marked by emotional detachment and social disconnection.

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Marie Cardona

Marie Cardona is Meursault's girlfriend and one of the few bright spots in the novel, bringing warmth and vitality to his life.

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Masson

Masson is a minor but crucial character in Albert Camus's The Stranger (L'Étranger).

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Meursault

Meursault is the narrator and main character of Albert Camus's The Stranger.

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Raymond Sintes

Raymond Sintes lives next to Meursault on the Algiers landing and stands out as one of the novel's morally questionable characters.

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Salamano

Salamano is an elderly neighbor of Meursault in Albert Camus's The Stranger, and while he plays a minor role, his character resonates with the novel’s themes of grief, routine, and the absurd.

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The Arab (Meursault's Victim)

The Arab is the unnamed victim at the heart of The Stranger's crucial act of violence, yet he remains largely without depth or backstory in Camus's narrative — a deliberate choice that many postcolonial readers find deeply unsettling.

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The Examining Magistrate

The Examining Magistrate is a minor yet symbolically significant character in Albert Camus's The Stranger, making an appearance during Meursault's pre-trial interrogation in Part Two.

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The Prison Chaplain

The Prison Chaplain appears exclusively in Part Two of The Stranger by Albert Camus, acting as the novel's final and most philosophically charged antagonist.

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The Prosecutor

The Prosecutor, also known as the Public Prosecutor or Attorney General, serves as the antagonist in Part Two of Albert Camus's The Stranger.

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“I looked up at the mass of signs and stars in the night sky and laid myself open for the first time to the gentle indifference of the world.”

This closing passage features Meursault, the narrator and main character of Albert Camus's The Stranger (L'Étranger, 1942), as he reflects in an interior monologue near the end of the novel.

Meursault (narrator) · Part Two, Chapter 5 (final chapter)

“Nothing, nothing mattered, and I knew why.”

This line is spoken by Meursault, the detached protagonist-narrator of Albert Camus's The Stranger (L'Étranger, 1942), near the climax of the novel's second part.

Meursault (first-person narrator) · Part Two, Chapter 5

“Maman died today. Or yesterday maybe, I don't know.”

These lines are the opening of Albert Camus's The Stranger (L'Étranger, 1942), delivered in the first person by Meursault, the novel's protagonist and narrator.

Meursault (narrator) · Part One, Chapter 1

“For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate.”

This closing line is delivered by Meursault, the detached narrator-protagonist of Albert Camus's The Stranger (L'Étranger, 1942), during the novel's final moments after he turns away from the prison chaplain and fully accepts his own mortality.

Meursault · Part Two, Chapter 5 (final chapter)

“I may not have been sure about what really did interest me, but I was absolutely sure about what didn't.”

This line comes from Meursault, the emotionally detached narrator-protagonist of Albert Camus's existentialist novel The Stranger (L'Étranger, 1942).

Meursault · Part One

“It was as if I had waited all this time for this moment and for the early dawn when I would be justified.”

This line comes near the end of Albert Camus's The Stranger (L'Étranger, 1942), spoken by the protagonist and narrator, Meursault, shortly after his heated confrontation with the prison chaplain.

Meursault · Part Two, Chapter 5 (final chapter)

“As if that blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world.”

This closing reflection comes from Meursault, the narrator and main character of The Stranger (L'Étranger, 1942) by Albert Camus.

Meursault (narrator) · Part Two, Chapter 5 (final chapter)

“I had only a little time left and I didn't want to waste it on God.”

This line is spoken by Meursault, the detached narrator-protagonist of Albert Camus's The Stranger (L'Étranger, 1942), near the novel's conclusion when a prison chaplain visits him on the eve of his execution.

Meursault · Part Two, Chapter 5

“Since we're all going to die, it's obvious that when and how don't matter.”

This line is spoken by Meursault, the detached protagonist of Albert Camus's The Stranger (L'Étranger, 1942), a significant work of absurdist literature.

Meursault · Part Two

“The trigger gave; I felt the smooth underside of the butt; and there, in that noise, sharp and deafening at the same time, is where it all started.”

This line is delivered (in interior monologue) by Meursault, the detached narrator-protagonist of Albert Camus's The Stranger (L'Étranger, 1942), at a critical moment in Part One when he shoots the Arab on the Algerian beach.

Meursault (narrator) · Part One, Chapter 6

“The gentle indifference of the world — to feel it so like myself, so brotherly at last.”

This line is spoken by Meursault, the detached narrator-protagonist of Albert Camus's The Stranger (L'Étranger, 1942), in the final pages of the novel after he rejects the prison chaplain's offer of spiritual comfort and fully embraces his fate just before his execution.

Meursault · Part Two, Chapter 5 (final chapter)

“I had been right, I was still right, I was always right.”

This line is spoken by Meursault, the detached protagonist of Albert Camus's The Stranger (L'Étranger, 1942), near the end of the novel following his intense confrontation with the prison chaplain.

Meursault (narrator) · Part Two, Chapter 5

The Crucifix

In Albert Camus's The Stranger, the crucifix represents the heavy burden of religious and social expectations that Meursault rejects.

The Gun

In Albert Camus's The Stranger, the gun represents the random and indifferent force of fate, marking the shift from Meursault's passive life to an irreversible action.

The Sea

In Albert Camus's The Stranger, the sea represents the indifferent and overpowering force of nature that removes social masks and reveals the absurdity of life.

The Sun and Heat

In Albert Camus's The Stranger, the sun and heat represent the overwhelming, indifferent forces of the physical world that strip away rational thought and social norms, revealing the raw, absurd nature of existence.

The Vigil and Coffin

In Albert Camus's The Stranger, the vigil and coffin at Meursault's mother's death highlight society's pressure to show grief and fit into moral norms.

Parataxis

Camus's prose style is the novel's most distinctive feature.

Irony

A striking irony shapes the trial in Part Two: Meursault faces the death penalty not for the murder itself, but for not showing emotion at his mother's funeral.

Imagery

Sensory imagery, particularly involving heat and light, fills the novel and serves a moral purpose.

Symbolism

The Arab's knife on the beach symbolizes the thin line between life and death.

Dramatic Monologue

The entire novel is told through Meursault's first-person perspective, resembling a long dramatic monologue in prose.

Pathetic Fallacy

Camus uses and challenges the concept of pathetic fallacy.

Understatement

Meursault's narration consistently downplays events that carry significant emotional or moral weight.

Motif

Heat, physical sensation, and the body repeatedly anchor Meursault in the material world while distancing him from the social one.

Juxtaposition

Part One and Part Two revolve around the idea of contrast: the same events are first told from Meursault's perspective and then retold by the prosecutor.

Extended Metaphor

The trial in Part Two serves as a powerful metaphor for how society engages with the absurd individual.

Narrative Poem

The novel has a two-part structure that's intentionally crafted.

Volta

The novel's key turning point happens when Meursault fires the first shot and then — importantly — fires four more.