Tragedy Archetype- the Stranger

The T furordy exemplar The spiritual changeover Within Prim Lerthirunvibul Y10D (Blue) The s withal ideals is a theory in which there are seven ways of spirit level-telling namely Quest, Voyage and Return, Rebirth, Comedy, Overcoming the Monster, Rags to riches and Tragedy. The Tragedy arche type is one of the seven precedents used in story-telling mentioned by Christopher Booker in The septenary staple fibre Plots. This cowcatcher is cognize to call a specific reaction from the indorsers often using grief, destruction and death.As the archetype manifests itself through time, there are many ways authors cast taken the archetype through their stories. An element in the archetype that plenty be carefully observed is the notion of Rebirth where the chief(prenominal) disposition at long last comprehends their misinterpretation of the world and their blunders which had curtilaged their destruction, typically hubris. This suggests that there is a part of the Rebirth arch etype in the Tragedy archetype. The question is, is catastrophe a type of the metempsychosis archetype?The absurdist novel entitled The freaky (The Outsider), also known as LEtranger by Albert Camus clearly portrays the conversion in the story yet is fluid engulfed by the disaster concepts seen in many literature examples. Once youre up against it, the precise manner of your death has plain small importance (Camus, 71). The stranger, written by Albert Camus is a tragedy halt based on the story plot of a man named Meursault who is a psycho system of logically and socially detached individual. He is also known to be amoral, not caring or knowing what is right or legal injury and sees feelings in a physical sense.In one scene of the book, his mother had passed apart and instead of grieving, he impassively looks at his mothers impenetrable and refuses the re- control surfaceing of the casket, which surprises many. He is also not responsive to human emotions such as desires an d love. When the prospect of marriage was mentioned by his recent lover, Marie Cardona, he responds with If she was keen on it, wed get married. (28, Camus. ) The Stranger can go under the tragedy archetype where it is classified by Booker as the hero as a monster since Meursault himself is the cause of his own death.This happened since he stopped a friend, Raymond Sintes from shooting an Arab who was his mistresss brother. And for no apparent reason, he came vertebral column and killed the Arab with a gun. A factor that may have affected his actions was in all comparablelihood because of the condition of the beach that was pulsing with heat (38, Camus). Although hubris is a common cause in the tragedy archetype, Meursault did not think of himself highly or much than superior than others, nevertheless rather as an observer where reality is acidulous for those who have no poignancy.He does not express himself much but with the reader as an observer as well, this creates the f eeling of sadness for the primary(prenominal) character even though he doesnt experience much of it. As the titles of the book says, he is merely a victim tortured by the difference in perspectives, this small difference makes him unique, or even a threat to others. Not however did Meursault set up his own death, but the society in which he lived in contributed as well. The core of the consequences can be traced by Hamartia ( ), a classical term meaning the fatal flaw of the hero which causes their death in the tragedy archetype story.In The Stranger, Meursaults flaw can be seen as his lack of emotions and his frankness. flat though being emotionless does not affect his daily aliveness or well-being, the environment of the situation created was greatly affected. An example is of how the people in court see him and how they also judge his beliefs, not for what he is, but what he says. When Meursault met a magistrate who tried to convert him, he called Meursault Mr. Antichrist ( 45, Camus) for being open and truthful about his beliefs, this then advocated his execution.Meursault sees things that other do not, which is one of the main causes of the resulting consequence. Humans often act on impulse, not by logic and the miscommunication between the other characters and Meursault creates conflict and sadly, the majority regularly wins in the tragedy archetype. The tragedy archetype is known to end with death, which is the norm for many stories, including The Stranger as well. Booker had also stated that the archetype sometimes involves the rebirth of the main character which usually comes before the tragic end of the main character.In comparison to feeling for Alaska, a modern novel written by John Green, The Stranger is more eye-opening since the concept of rebirth is directly undergo by the main character whilst the rebirth element in Looking for Alaska is not quite clear because the main character, Miles, continues on with his life as nearly the same per son even though his friend, Alaskas, death had a tremendous effect on other characters. With the longer lingering rebirth in The Stranger, Meursault finds comfort in the end where he becomes a in the raw person within himself, which proposes the idea of self-discovery.In his last moments, Meursault thoughts were To feel it so like myself, indeed, so brotherly, made me realize that Id been cheerful, and that I was happy soundless. For all to be accomplished, for me to feel less lonely, all that remained to hope was that on the day of my execution there should be a huge collection of spectators and that they should greet me with howls of execration (76, Booker). Even though the happiness was short, there was still a change in him as seen before the end of the book. In Bookers analysis of the rebirth archetype, there are devil types of rebirth which is physical and mental rebirth.An example of a physical rebirth could be found in the folktale of The Sleeping Beauty as she literal ly wakes up from her curse. A mental rebirth example could be found in Crash (2004), where a Farhad, a character realizes that his rage had clouded his judgment and he becomes calm and content, different from how he was from the start. The Stranger goes under the mental rebirth category since Meursaults own conclusions resulted in the enrichment of his own mind as he begins to accept things in life.However, this does not necessarily mean that The Stranger can be directly locate under the Rebirth archetype. When referring to Bookers analysis, it is stated that we have only seen this return of hang partially, ultimately insufficient to prevail against the forces of darkness which have been unleashed, and which eventually sweep the hero or heroine away (Booker, 192). This means that in the tragedy archetype, the light which is the rebirth of the character, can be seen only for a moment before it dissipates with the main characters demise.This could be compared to a candlelight where it flickers in the dark but does not last evermore since it cannot maintain the flame and eventually, will be engulfed by darkness, which is, the sins or the consequences that belatedly yet surely, catch up to the main character. All in all, even though The Stranger contains the Rebirth of a character who wakes up from an versed sleep or obliviousness, the tragedy archetype had proved itself to be more complicated and deeper with many fundamentals and forms that had manifested overtime.This then revealed the inner workings of the archetype including the profound meanings in the book. It is difficult to justify realistic and life-like story into clear categories as there are many factors, emotions and feelings brought in different events. alone as they say, the end justifies the means in this particular book where Meursault dies a miserable and solitude death within the clutches of society. Again, regardless of the light in the story, The Stranger is a tragedy story weaved with the rebirth archetypes features which implies that the tragedy archetype could also contain mixes but still maintain its structure throughout history whether it is in an old-world or modern literature. In short, the tragedy archetype is one of the most arouse and riveting of the seven archetypes that seem basic but with careful ceremonial occasion and research can prove to be a very efficacious way of story-telling that can be remembered by readers despite of the era or time in which the archetype had laid itself upon.Bibliography (Citations) Innovateus. What Is Hamartia in Greek Tragedy? What Is Hamartia in Greek Tragedy? Innovateus, 2011. Web. 02 Mar. 2013. Booker, Christopher. Chapter 9 Tragedy. The Seven Basic Plots Why We Tell Stories. London Continuum, 2004. N. pag. Print. Booker, Christopher. Chapter 11 Rebirth. The Seven Basic Plots Why We Tell Stories. London Continuum, 2004. N. pag. Print. The Stranger. SparkNotes. SparkNotes, 2013. Web. 02 Mar. 2013.