“Neither existentialist nor absurdist, but
nihilist”. Discuss the validity of this statement with respect to the
protagonists of The Outsider and Perfume.
When exploring the human
condition through the eyes of misanthropes and amoral anti-heroes, it is perhaps
inevitable that Patrick Süskind and Albert Camus would convey existentialist
and absurdist themes in their novels Perfume and The Outsider. However, it may
be possible to take an analysis of these themes further, to an extent where one
can claim that they ultimately conclude in nihilism.
The motifs of
existentialism and absurdism in The Outsider are most saliently presented
through Camus’ main protagonist, Meursault, who exhibits a stoic indifference
to humanity and its values throughout the novel, instead revealing them to be
absurd and objectively meaningless. Meursault is utterly solipsistic, and
hence, existentially, he is the centre of his ‘universe’, deriving all daily
structure, moral principles, and judgements from his own moral code.
Meursault may
existentially define his own essence through his candid, unemotional outlook on
society, constructing his own meaning by extracting subjective significance
from objective truth through an almost brutal honesty. Moreover, the character
of Meursault as a potential embodiment of existentialism may be further
enhanced by his alienation from society; while he is immersed in it, he is
often portrayed as a mere observer, or subject to judgement “I noticed a row of
faces…all…scrutinizing the new arrival…looking for…criminalities”.
Meursault also seems to
make an existential decision, albeit perhaps subconsciously, not to conform to
mankind’s artificial social conventions and expectation, realising their
fundamental futility and absurdity. His mother’s death, for example, doesn’t
evoke any sense of loss in Meursault: “I probably loved mother quite a lot, but
that didn’t mean anything…The only thing I could say for certain was that I’d
rather mother hadn’t died”. In addition, Meursault casually befriends Raymond
Sintès, despite the man’s patently dubious reputation and occupation, instead
of expressing the repugnance that one would expect.
Meursault’s evident
amorality places his concept of moral principles firmly outside the ethical
boundaries defined by conventional society. Existentially, therefore, Meursault
exists as “a conscious being not in accordance with any essence, definition or
system” apart from that which he creates for himself; he is an existential
representation, in microcosm, of mankind. Consequently, human ethics and the
legal system that upholds them are portrayed as absurd and ineffectual in
achieving their purposes.
For instance,
Meursault’s reaction to his first encounter with the law was that it “all
seemed like a game”, and “Everything was so natural, so well organized and so
calmly acted out”. This patronising dismissal of the judicial system
underscores its absurdist insignificance in the midst of an incomprehensible,
apathetic universe. Camus may also explore absurdism further by exposing the
trial itself as a morbid form of public entertainment: “[The papers have] blown
your case up a bit. The summer’s the silly season for the papers.”
The absurdity of this
perversion of the abstract concept of ‘justice’ invokes a sense of role reversal
as the judicial system, supposedly designed to discern truth and espouse
morality, is revealed to be the opposite; ironically, Meursault, the criminal,
is the only sincere party in the legal proceedings.
Conversely, Meursault’s
evident amorality and his tendency to undermine social convention and
expectation may be interpreted as wholly nihilistic. Meursault’s amorality is
strongly reminiscent of nihilist theory that challenges the existence of an
objective morality; his inability to define any set of moral guidelines
whatsoever may be attributed, from a nihilist perspective, to the fundamental
impossibility that a universal system of ethics can be defined for mankind or
for the individual.
Meursault also rejects
God, stating that he “didn’t believe in God”, and “…throughout the whole of
this absurd life…what did…God…matter”. A disbelief in God’s existence may be
characteristic of existentialism (“God is dead”); however, such a complete
rejection of a divine presence may be closer to nihilism, which claims that
there is no proof of any form of creator or divine ruler, and even if one
existed, man was not obligated to place his faith in it.
Ultimately, however, any
claims of nihilism in the text of The Outsider may gain the most credence from
the fact that Meursault surrenders to death, faced by the hopeless situation of
being sentenced to capital punishment: “everybody knows that life isn’t worth
living…It was still only me who was dying, whether it was now or in twenty
year’s time”.
Patrick Süskind’s Jean-Baptiste
Grenouille, a murderer and the main protagonist of Perfume, is a manifestation
of “arrogance, misanthropy, immorality…[and] wickedness”, and so serves as a
pejorative perspective on mankind and an extreme embodiment of the formidable
‘will to power’ theorised by the precursor of existentialist philosophy,
Friedrich Nietzsche. Both these literary traits enable a keen exploration of
existentialist and absurdist aspects of man’s existence.
Grenouille’s existential
significance is mainly derived from the significance of the “fleeting realm of
scent”, with the olfactory world as Grenouille’s ‘universe’; only Grenouille is
able to comprehend and extract meaning from smell and through his supernatural
olfactory abilities. Existentially, this isolates him from mankind, but
simultaneously makes him the focus of his ‘universe’, so Grenouille is
compelled to turn to himself for all direction in forming his essence.
However, while
Grenouille is able to penetrate the olfactory world, “he could not…smell himself”.
His own scent eludes him, a metaphor for his lack of an identity that renders
the rest of society and its physical world impenetrable, augmenting
Grenouille’s alienation. He is detached from his fellow man, and,
fundamentally, also isolated from himself; in these ways, the misanthropic
murderer may be a perverse, existentialist representation of mankind in
microcosm.
Grenouille makes the
ultimate existential decision to forge his own essence by concocting his own
divine scent, in accordance with the existentialist assertion that human
existence precedes human essence, and that the latter is moulded by our action
or inaction throughout our existence. However, it may be argued that the
structure of the text itself contradicts existentialism, as Grenouille is
introduced in the opening as “one of the most gifted and abominable
personages”. His essence is seemingly established before his existence, which
is physically introduced afterwards with Grenouille’s birth “on the most putrid
spot in the whole kingdom”. Conversely, his ‘odourless essence’ formed during
childhood and inability to smell himself culminates in his attempt to create
his true olfactory essence and identity.
Grenouille also appears
to relinquish his purpose in moments of despair, such as when he is unable to
“distil radically new scents” using Baldini’s “alembic” (“When it finally
became clear to him that he had failed, he halted his experiments and fell
mortally ill”), and when he finds the stench of humanity so unbearable that he
retreats to a mountain cave for several years (“…Grenouille had become…more
sensitive…to human odour…Thus his nose led him…towards the…greatest possible
solitude”). Such responses to the futility of existence may suggest a nihilist
reading of Perfume explored through the nihilist attitude of its main
protagonist.
Süskind may also explore
the absurdity of language, arguably an artificial construct to give shape to
the chaos of our existence, through Grenouille’s epistemological limitations in
that area. “With words designating non-smelling objects…[Grenouille] had the
greatest difficulty”, and “everyday language would soon prove inadequate for
designating all the olfactory notions that he had accumulated within himself”.
Nihilistically, it may be implied in the text that the inadequacy of language
stems from the fact that objective truth is impossible to distinguish, and
hence impossible to express. Even through a supernatural sense of smell,
Grenouille is unable to interpret his sensory experience empirically or communicate
this knowledge to others; the meaning that Grenouille can extract from scent is
utterly subjective, and thus a private discourse. If communication is flawed to
the point of being futile, one can draw nihilistic conclusions.
Additionally, like Meursault,
Grenouille nihilistically and radically rejects God. He exhibits utter
impudence towards God as a concept and entity, deifying himself as a “divine
creator” in a parody of the biblical Genesis, and disdainfully declaring: “God
stank…He…was Himself a swindler, no different from Grenouille”.
Isolated from humanity
with superhuman senses, Grenouille exhibits no loyalties to people or ethical
systems, an outlook that concurs with nihilism; instead, he exploits other
individuals to further his own futile ambitions. It may be argued from an
existentialist perspective that Grenouille is ultimately loyal to himself;
however, this argument is perhaps weakened by his eventual suicide in response
to the absurdity of the universe, an entirely nihilistic reaction and attitude
as Grenouille fails to construct his own meaning out of life due to
misanthropic despair.
Essentially, Albert
Camus’ The Outsider and Patrick Süskind’s Perfume undeniably incorporate
elements of nihilism, or attitudes that suggest a nihilist reading which is
more plausible than existentialism or absurdism. The main protagonists’
ultimate sacrifices in response to the hopeless absurdity of existence have
convinced this reader that the philosophical themes of the two novels can be
eventually reduced to nihilism.
Bibliography:
Camus, A., The Outsider, translated from the French by Joseph Laredo, Penguin Books, pg 81
Kreis, S., The History Guide: Lectures
on Twentieth Century Europe – Lecture 12: The Existentialist Frame of Mind, copyright Ó 2000, last revised
28/02/06, accessed 07/05/08, http://www.historyguide.org/europe/lecture12.html
Nietzsche,
F., The
Gay Science (Die fröhliche Wissenschaft, 1882); information
obtained from Wicks, R., Stanford Encyclopaedia of Philosophy: Friedrich
Nietzsche, http://plato.stanford.edu/entries/nietzsche/,
accessed 19/05/08
Süskind, P., Perfume: The Story of a
Murderer, translated from the
German by John E. Woods, Penguin Books, 1987, pg 3