The little robot-like woman who sits with Meursault provides an interesting contrast to his own character. Furthermore, Marie notices how glum Meursault looks, almost like a mourner. Neither you, nor the coeditors you shared it with will be able to recover it again. Knowing that he could just turn and leave, he cannot help but move forward. This action puts his body at such ease that he naps after reaching the beach and must again be woken up by Marie.
They will each be rather similar. Marie says it is terrible whereas Meursault does not comment. Strangely though, Meursault ends up doing just that when he shows very little excitement at the idea of being transferred to Paris. Is this son a monster? In fact, what Meursault has done, is, indeed, very monumental, for had he not written the letter, he would not have found himself later intertwined in Raymond's problems; he would not have shot an Arab friend of the girl, and he would not have been guillotined. And yet he is compassionate toward Salamano's loss and willing to listen to his stories of the dog. He is glad that Meursault did not care that he had not hit the cop back.
Ironically, he does want the balance of his life upset although he believes that individual choices and events do not matter. Marie finally decides that her liking him for this peculiarity may make him hate her later but she will still marry him. When asked if he wishes to view the body he declines and, instead, smokes and drinks coffee in front of the coffin. The Arabs back away at the last minute and Meursault and Raymond walk back. I do believe though that this sort of backwards love to hate the object type of relationship is very prevalent between people.
The two become re-acquainted, go swimming, watch a comedy film, and begin to have a sexual relationship a day after his mother's funeral. Celeste - The proprietor of a café where Meursault frequently eats lunch. At night in his cell, he finds a final happiness in his indifference towards the world and the lack of meaning he sees in everyone and everything. They are always together and even look similar, but Salamano is constantly beating the dog. Meursault devours his lunch and then takes a walk with the other men.
Meursault explains how the pound keeps the dog for a short time before deciding what to do with it. Upstairs, Raymond bandages his hand, explaining he's been in a fight with a troublemaker. He thinks Meursault seems like the type who would enjoy the travel and change. Meursault is completely honest in his responses to her questions and it is disturbing to a reader, and obviously to Marie, that he participates so little in the rules of manners. The structure of Meursault's thoughts points to his nonchalance concerning the actions of Raymond.
Salamano, however, still lives within the prescribed boundaries of society and expresses his sadness over the loss of Maman. Salamano reports that the people at the pound think his dog has been run over. Salamano owns an old dog that suffers from mange, and he frequently curses at and beats his pet. Through this dynamic, Camus creates a sharp contrast to the other relationships in the novel. For Meursault, what he has done is merely a gesture; it takes no trouble to write such a letter, and, besides, Raymond has been generous with his wine and food and cigarettes.
He will get married if Marie wants to and he is annoyed that she questions his reasons when it is her idea. And When he goes to prison, his mindset remains the same, rather than becoming ashamed of himself or pitying himself for his situation. I think that Salamano plays a foil for Mersault in that he shows him an example of a relationship, that may not be great on the outside, but he soon comes to find out how heartbroken Salamano is without his dog and how important that relationship was for him. Salamano is worried the police will get him. Raymond is injured foreshadowing the danger inherent in meeting the Arabs like this but it is only a surface wound. The Arabs include Raymond's mistress, her brother and assumed friends. Meursault has the power to kill or not to, and he is influenced by no outside influence other than the beating sun and drunkenness of his senses.
His pain at losing his dog contrasts with Meursault's indifference to losing his mother. He remembers once that he did have ambition, but that when he had to drop his studies, he gave up and decided that all of his ambitions were futile. The reader feels almost like they are in an old Western movie as Raymond reaches toward his pocket for a gun and they watch to see if the Arab reaches for anything in his pocket. The harmony of their union is broken by the disharmonious and ugly fight between Raymond and his mistress the next morning. Unlike Meursault, Raymond Sintès, an acquaintance of Meursault's, is disgusted by Salamano's living eight years with his dog — loving him, hating him, and beating him.
He follows her for a few minutes when she leaves but then forgets about her. This is a small but important part of the absurdist philosophy. For instance, Malraux thought the minimalist syntactic structure was too repetitive. But she cannot dine with Meursault and wonders why he doesn't ask her why, implying that she might have a date with another man. To have the look of one on a simple Sunday morning, the days were he usually does nothing all day long, foreshadows a death which will affect Meursault much mroe deeply than any other death has before. The boss does not like his idea that one life is the same as another because that disturbs his sense of agency.
Immediately following Raymond's assertion that he was glad the woman got what she deserved, Meursault ironically thinks of how friendly he is and how nice the moment is. The theme that installs itself right when the book starts and stays relevant until the last page is isolation. He displays emotionless throughout the book in his reactions to the people and events in the book. Home in the evening, Meursault runs into his scabby old neighbor, Salamano, and his scabby, hairless dog. At the trial, the prosecuting attorney portrays Meursault's quietness and passivity as demonstrating guilt and a lack of remorse. Meursault is not an invisible man anymore. Celeste dit toujours que c'est malheureux, mais au fond.