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By Gobry

ISBN-10: 2729853499

ISBN-13: 9782729853495

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He has seen a woman, heard a suspiciously 42 CHAPTER ONE revealing noise, and has not shown the slightest sign of altruistic behavior. He has allowed a suicide to occur, the critics tell us. But what is the textual origin of this “death”? A literal reading of the passage reveals only a series of juxtaposed perceptions: the protagonist sees a woman who appeals to him sensually and then he hears the sound of a body falling followed by a cry. The rhetoric of Clamence and the logic of referential anchoring cause us to combine these elements into a coherent picture: we conclude quickly that it is the woman seen on the bridge who falls and that her death is Clamence’s crime of passivity.

The silence that followed, in the now frozen night, seemed to me interminable. I wanted to run yet could not move. I was trembling, I think, from the cold and the shock. I said to myself that I had to act quickly and I felt an irresistible weakness overcome my body. I forgot what I thought then. “Too late, too far” [“Trop tard, trop loin”] . . or something in that vein. (La Chute, 1509; my emphasis) The most apparent effect of the episode is to inculpate Clamence, to condemn him for lack of action.

This general statement fits not only Le Mythe de Sisyphe (The Myth of Sisyphus) and L’Homme révolté (The Rebel) but also L’Etranger (The Stranger) and La Peste (The Plague)— yet how can we apply it to La Chute, a work whose rhetoric of démesure (excess)4 stands in diametrical opposition to the contained lyricism of the moralist? One wonders if Sartre did not secretly admire La Chute precisely because it did not fit the category of moralisme as such; because it added considerable obscurity to the perhaps excessively clear schematic ideas of Camus the philosopher.

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Le vocabulaire grec de la philosophie by Gobry

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