(Postscript)
Yun Yetui
1960 On a chilly spring day, Camus was killed by an unexpected trouble. In the shock and regret of the whole world, Sartre, as always, linked death with the ideological pursuit of the deceased with his theoretical passion: this unexpected death is just another example of the absurdity of the world, and it is almost an invisible providence to Camus. "For all those who love him, his death contains an unbearable absurdity. But learn to treat this incomplete performance as a complete performance. " No one knows whether Sartre is really emotional, perhaps this is indeed the highest evaluation Camus can get.
Sartre's memorial once again reveals his love and hate for Camus. Bernard only Levi said these words were "almost surrendering", which may be exaggerated. Sartre wouldn't be so condescending. In those days, a thin "The Outsider" cost Sartre 20,000 words. He found that the North African background described in Camus's novels was really an absurd typical environment, which made him unable to restrain the excitement of finding his compatriots. "Absurdity is not the object of pure ideas. We realized its existence through a sad revelation. " This revelation is the sense of mediocrity brought about by day-to-day routine, which coincides with Heidegger's "worry" and Sartre's own "nausea". When "everything collapses", people suddenly wake up in the ruins, and there is nothing from the heart to the outside. Perhaps, Sartre wanted to start a career with Camus on the premise of this * * *, but surprisingly Camus did not have the ambition to establish a system. He can find a balance between his inner and outer world, his desire for life and his ultimate fear. This is the kingdom of his childhood.
This is a kingdom of gods-"In spring, there are gods everywhere in Tibassa". Camus likes to compare Greeks with modern people, aestheticism and utilitarianism, idealism and realism. For example, in Helen's Exile, he said, "We exiled beauty, and the Greeks fought for beauty." Even gods are creating masterpieces of art, while modern people only fight for power and wealth. The Wedding of Tibassa is one of the earliest images of Camus-sunshine, sea, flowers and stones. Since then, these things are scattered in his articles, shrouded in a layer of myth, and circled a pure land that can reach the gods of the world.
"Here I understand what is glory, and that is the right to love freely. ..... holding a woman's body tightly is also to keep the strange happiness that fell from the sky to the sea on yourself. " These words are so widespread that Sartre can't write them. Philosophers extract the essence of theory in reality, and artists collect and preserve the juice he filters out. Sartre's understanding of love is close to penance, while Camus yearns for "unfettered love" in his heart. Therefore, despite his indifference, he is a standard "sensualist". His "sexiness" is ceremonial: the wedding of sunshine and the sea. Such people bear the most important enlightenment Camus got in Tibassa, and also highlight the world difference between Tibassa and Europe: secular people forget Tibassa's wealth and can no longer understand that kind of love ceremony; In reality, love and sensuality are a pair of opposing concepts.
Sartre's philosophy is not what Camus wants. At most, they are similar in the starting point of world outlook-this is enough to form the general impression that they live in the same family-and they are far from how to treat absurdity. Camus said he couldn't understand Sartre's absurdity, and then he went back to his original place. The protagonists in The Wall, Dirty Hands and The End of the Road finally lose their hands in the face of absurdity, no matter whether their stories are comedies or tragedies. For "love", their understanding is also the opposite. After watching the performance of Dirty Hands, Camus thought that the two lines in the dialogue between Hugo and hedley should be exchanged: "I don't love people for what they are, but what they should be like" should come from hedley's mouth, and "I love them for what they are" should be said by Hugo. Professor Alanzen pointed out the reason: Camus "thinks that hedley's love is a bit abstract and rigid, and the only concrete love in the play is Hugo's love for hedley." In other words, Camus is more likely to identify with Hugo, who has a clear feeling, and has a natural aversion to the party leader He Delei.
Camus wrote: "We don't seek any lessons, nor do we seek the bitter philosophy that people ask of great men ... Here, I leave order and moderation to others." No cracks, no impurities, and no morality. Tibassa is a paradise. Camus was cleaned inside and out. If one's life will be thoroughly remoulded sooner or later, Camus finished this work as early as childhood. He established a dry absurd world in his novels and philosophical essays, but he always contained the impulse to return to the original, which could not be satisfied with the absolute binary opposition rendered in Sartre's works. Although "order and moderation" was advocated by him all his life, it was actually the return of the prodigal son after he left the divinity, and it was a compensatory imitation. Sisyphus's punishment refers to the monotonous and repetitive life style of absurd people, but in the end Camus linked him with the extremely sacred adjective "happiness". As far as personality is concerned, even if Camus has the ambition of "saving", it is difficult to give up the dream of "freedom".
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# 1: No theme-Yunyou is still replying April 2005 10 15: 49.
Sartre saw Camus's "clear and sad melancholy" and "classical temperament, Mediterranean temperament" very early. Camus said in "The Myth of Sisyphus": "In a world where light and fantasy are suddenly lost, people feel that they are outsiders. This kind of exile is irreversible, because he can neither recall his lost homeland nor covet the land of hope in the future. " The Wedding of Tibassa tells the story of Camus when he was 20 years old. It is like a well-defined container, which holds its starting point and ending point. Among them, there are many hints of sensibility, and there is a sacred and transcendental atmosphere throughout. 1939, when the wedding anthology was published, Camus had just crossed the threshold of Europe, and his heart was still wandering in the Mediterranean of North Africa. In the preface to Opposition and Justice, he wrote: "Change my life, yes, but don't change the world that gives me divinity. There is no doubt that, in this way, I came into contact with this uncomfortable career I am now engaged in, that is, the career of an artist.
After Camus's death, people found some manuscripts of the first man in his bag, which were already covered with blood. The manuscript gave him the last legendary color: the completed part of The First Man just connected Camus' life chain roughly. As a descendant of a Frenchman with black feet, Camus's childhood, as described in the manuscript, is a shadow between the sunshine and the shadow of his family in the Mediterranean. When his heart is soaring, when he is keenly and sentimentally aware of the fate of losing his home, he holds the sunshine and shadow tightly in his hand as *. In the essay "Summer in Algiers", Camus described two completely different environments in Algiers: on the one hand, swimmers on the beach (where people don't say "[go swimming]" but "[indulge in a tour]"), and on the other hand, the city appearance in the Algerian government square-the monotonous cries of Arab vendors, buzzing flies and people taking a nap. However, this scene is not used to deny, but "summer has dedicated its remaining wealth in the opposite form." Silence and boredom are also a kind of wealth; There, the city and nature are by no means diametrically opposed, and the essence of silence is "different", sometimes from the sun and sometimes from the shadow.
Professor Aloncen's only comment on "The First Man" is that "it contains the sweet childhood memories of a poor but brilliant black-footed Frenchman, and the myth of French Algerians-the working class-that is, socialist colonists-created their own country with their own hands." Since the "myth" of life shows that Aristotle did not appreciate it, he linked this manuscript with the two ends of Camus' The First Mouse during the Algerian War. Indeed, Camus' prose is absolutely gorgeous, and in a sense, it is also chaotic. They make people have a deep affection for the author, and people's yearning for the sacred hometown representing love and beauty will naturally extend to their reverence for their descriptors. However, Professor Alanzen pointed out that it was his obsession with the summer in Algiers that made Camus afraid to face the cruel reality of the Algerian war and the real relationship between colonists and aborigines. On these issues, Sartre's negative temperament began to show his strength. From the beginning, he took a pessimistic attitude and gave a cold answer to the absurdity of reality: he firmly stood on the position of local aborigines and resolutely defended their right to resist. In contrast, Camus's imitation of the moral demands of the righteous Russian populists on the rebels is really a feeble fantasy.
Camus is riding a wall for a reason. The reason is the moving confession that "mother is before justice". This Mediterranean son has the talent of a saint, and even the weak side is touching. However, Raymond Aron said in his memoirs: "This sentence is basically meaningless. ..... We understand that in his attachment to Algeria, his love for his son and his concern for justice, his heart was torn to pieces, and he refused to express his position in two opposing camps. However, comparing' mother' with' justice' seems to me to be the language of scholars, not to judge a tragic conflict. " Camus failed to distinguish family nostalgia from the logic of judging political issues. He called on the government to give in to the demands of local nationalists, mainly out of selfishness. Selfishness weakened his insight, and in the face of the fast knot, he failed to cut it off resolutely with a sword like Sartre.
During the Algerian war, Raymond Allen was one of the most far-sighted figures in politics. He saw that only when the French government reluctantly gave up the colony could it cooperate with the Algerian state power and rebuild France's prestige. Since the colonial era is gone forever, the suzerain can only make concessions for the overall situation and avoid the more serious consequences caused by the original sin of colonialism. However, the artist Camus could not understand this. He doesn't want to admit that there is no room for reconciliation between the colonists and the aborigines. They are both his hometown. Tibassa taught him that harmony between people is the way to conform to nature and is worth fighting for.
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#2: Untitled-Yunyouzai April 2005 10 15: 5 1 Reply.
Looking back, it seems that it is not difficult for us to draw a conclusion that Camus wrote hymns in his early years objectively beautified the reality of the colonized, but the "dishonesty" (insincerity) that he opposed most in his life ended tragically on his own head. Camus once again exposed naive idealism on the issue of supporting the anarchist Gary Davis. Just because Davis claimed to be a "citizen of the world", Camus once regarded this idiot as a traitor to the imperialist camp. Lionel Abel said: Camus "often thinks that what is morally desirable is politically effective ... Camus only supports all good and kind things." With a dream of a beautiful Mediterranean, Camus is always used to comparing some realities in the past sunshine.
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#3: What an asshole! I tickled you to make you more sensitive! -Yunyou replied on April 2005 10 15: 52.
The problem is that the enthusiasm for helping the good is inevitably impulsive in the face of reality. Aaron said that he would never attack Camus' great achievements or doubt his noble soul. What Camus lacks is the ability to judge reality rationally, which requires specific skills and wisdom and has nothing to do with morality.
At the end of 1952, Camus returned to North Africa and stayed for a while. In Europe, he witnessed too many antagonistic conflicts. After the war, the regime change in France was like a lantern, the parties were scattered, and the left and right wings were entangled. He himself parted ways with Sartre, thinking of the friendship of a few years ago, he couldn't help feeling dejected. He came to the Sahara desert, visited an oasis city he had never been to, and tried to go south, but he heard the omen of riots. So he came to Tibassa again, trying to find something that moved him.
It rained continuously in Algiers. "In the end, even the sea was wet." As soon as Camus set foot on his native land, he felt that Algiers was not like the past, symbolizing the summer that comforted him. "But I'm still stubbornly waiting ... maybe it's time to go back to Tebasa." He didn't expect that at the age of forty, he could relive the excitement at the age of twenty, the excitement that only belonged to a pure teenager with little practical experience. However, he was still waiting, holding his breath every word.
Finally, at the moment when I saw Tebasa again, the gap between the two worlds collapsed, and the humid air in my memory surged in, mixed with the melancholy brought by reality. Camus went through the barbed wire used to protect the ruins. "I heard a voice that I almost forgot, as if my long-stopped heart was beating gently again." The wave of happiness came back to him again. "I seem to have finally entered a safe haven, at least temporarily, and this time will never end." At that time, the wedding hall became a haven to soothe wounds.
Bernard only Levi asked, "If a morality values happiness instead of justice, is it still moral?" ? If a political governance is only satisfied with worshipping the world, seeing the world and accepting the world and Nuo Nuo's blessing, is it still a political governance? "Indeed, Camus's moralized political view is a utopia not far away. No wonder Song used his criticism of revolutionary life as an excuse for quietism and conservatism cowards. However, from another perspective, only he can reveal the harm of politics to people: "In any case, anything that forces people to exclude one side is untrue. Isolated beauty will eventually become ugly, and lonely justice will eventually become oppression. Whoever wants to serve one side and exclude the other side will not serve anyone or serve himself, and the number of people who will eventually serve will double. " As a result, modern people personally buried the restraint of the Greeks in the arena of interest competition.
Emotionally speaking, understanding Sartre's theoretical system is not as refreshing as reading Camus's pastoral poems. Sartre used extravagant words. In his autobiography, he played up the fun of his writing career, and he was happy to join the WTO. But both Camus and Sartre have a unified complex: one tries to establish a set of words to explain the world, and the other tries to guide the world towards moral absolute harmony; One represents defending the weak and the other represents humanitarianism; One advocates strength, and the other is obsessed with conversion. Therefore, it is impossible for Camus to join the WTO to seek justice like Sartre. He said, "giving up beauty, giving up the functional happiness connected with beauty, and serving misfortune wholeheartedly need a kind of loftiness that I lack." "The long-term demand for justice exhausted love, and justice was born out of love." In his view, even if the word "fellow traveler" is not mentioned, Sartre's justice is too ruthless. Camus sighed, why can't the world embrace love and beauty with open arms? He seems to be more willing to be a missionary than a keen political commentator.
"In those years, I vaguely felt something was missing. When people have the opportunity to love strongly, they will spend their whole lives pursuing that passion and that light. " This is a tragic saint. In the political and political trade-offs that emphasize operability, Camus's ambition is unique and he wants to help the world at the same time. If measured by the state of Tebasa, then there is no doubt that every kind of opposition and every war is vulgar and ugly. Isn't the idyllic Back to Tibassa a harbinger of Camus' fatalistic pessimism?
In Tibassa, Camus has a monument and is bathed in the sea breeze every day. The inscription on the monument is a quotation from The Wedding of Tibassa: "I understand what glory is here, and that is the right to love freely." On March of this year 10, the national library of France started the Sartre special exhibition, which lasted for nearly half a year. Although Sartre's popularity declined sharply with the end of the Cold War, he is still on the throne and even in danger of being pushed into the Pantheon.
It seems appropriate to give Sartre a secular laurel and Camus a peaceful destination, which varies from person to person. Sartre wrote in his eulogy: "The quarrel didn't stop us from thinking of him, and feeling the staring at the page he was reading and the top of the newspaper didn't stop us from mumbling:' What did he say about it? "What did he say about it?" "Now, we still remember Sartre's position of rejecting all official honors, and remember Camus' eyes when judging political right and wrong?
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#4: I like Camus Lingjie's reply on April, 2005 10 16: 00.
I like Camus's "clear and sad melancholy" and "classical temperament, Mediterranean temperament"
A thin "outsider" forced me to take a copy of his complete works.
Unfortunately, I didn't have time to finish reading it. An existentialism in Wu Hanyou before. But I was young.
But reading Camus's words, I especially like his "clear and sad melancholy" and the deep thinking of outsiders. ...