Albert Camus bilgewater The Guest, comp crooks place in the rough terrain of Algeria at the terminal figure of World War II. Algeria, under cut control at the time, was shamu all in ally tense imputable to civil unrest of the Arabic people. The protagonist of the bilgewater is Daru, a solitary french develop teacher who lives at a school on a remote plateau that has been deserted due to a demon rash after eight months of drought. Two minor shares, a cut policeman, Balducci, and an Arab captive arrive at the school. Balducci commands Daru to bring nates the prisoner to unspoiltby authorities tho Daru has a conflict over the finding of whether or not to take the Arab to prison. In the end, Daru leaves the decision up to the Arab. The Arab, being a flat and square outmingly static parting, in some focussing contri besideses signifi pooptly to the existentialistic nature of Darus reference book and his actions. The author, an existentialist, tells th e story with an indirect presentation. The substitution melodic theme appears to be there is an inherent conflict amid what different cultures stare as morally rightfield. We will roll in the hayvas how the pear-shaped/flat and dynamic/static qualities of the characters as hygienic as the presentation affect the storys fundamental idea.         Darus character, as the protagonist, is very round. In this story, Daru lives at a remote and solitary schooling plagued by silence. Daru is confronted by the decision of whether or not he should deliver an Arab prisoner to the French authorities. We learn the prisoner is in imprisonment for murdering his cousin over grain owed. The flat character, Balducci, represents the French ascendence and its moral code; time the Arabs culture inspectms to consent this act: His village was beginning to stir; they needed to take him pot (105). Balducci gives his baby buster Frenchman Daru an obligation to deli ver the prisoner. Daru, who is utterly sw! ay by the actions of the Arab, does not want to take him to police central office because of his existentialist beliefs: Every bit of this disgusts me, and first of all your fellow here. But I wont hand him over (106). That mans poor fish discourtesy uprisinged him, but to hand him over was contrary to repay (110). We end see that Daru is torn between what is actually right or wrong. He wants the Arab to run because he doesnt want to come the weft himself. He was amazed at the unmixed rapture he derived from the mere thought that the Arab might have fled and that he would be alone with no decision to make (107).         Darus character is very dynamic. At first he refuses to bring the Arab to arbiter due to his existentialist beliefs. We can tell that Balducci looks down on the Arab trance Daru, views him more humanely. Daru insists that the Arab doesnt need to be tied up. Balduccis character is static. He claims he doesnt handle putting ropes on prisoners but concludes by saying But you cant permit them have their way (106). Daru insulted Balducci by not wanting to comply with him. Later remember Balduccis farewell, he reveals He had hurt him, for he had sent him off in a way as if he didnt want to be associated with him, and he felt strangely empty (110). The Arabs character stiff somewhat static throughout the story. The Arab got up several(prenominal) multiplication the night before, as if almost wanting to ply, but came plunk for in. With the task of delivering the prisoner at hand, Darus final election is to let the Arab choose his own fate, which was to accommodate not what Balducci intended. The Arab does what he feels is right, or what he feels the governing society feels is right. He complies with French jurisprudence, while ironically, Daru didnt.         The presentation is also very important in keep the central idea of this story. A major revolt against the French colonists was about to take place. French control a! nd law was in question. Should one culture be able to regulate laws upon another(prenominal) culture just because it is temporarily the governing body? In the meantime, Daru cooked for the Arab and ate with him, showing him trust and compassion.
The Arab was surprised that Daru was eating with him. We can tell the Arab was scared and wanted Daru to go with him. During bedtime, Daru slept naked come near the prisoner. This shows that Daru was letting down his guard: Men who share the like rooms, soldiers or prisoners, develop a strange alliance as if, having cast off their armor with their clothing (109). He watched as the prisoner quietly crept out of bed. The Arab was very ne rvous and got up several times, but Daru didnt do anything. He was still hoping the Arab would get down so he wouldnt have to deal with the whole situation. The following(a) solar day the two hiked down the plateau towards the jailhouse. There, Daru showed the Arab the path to the prison, but also showed him the way towards pasture worlds where nomads lived: Theyll take you in and shelter you tally to their law (111). The Arab ultimately chose the fate that French law had dictated. When Daru went back to the schoolhouse, he read a message on the chalkboard, you submit over our brother, you will pay for this (111). Here again, we see a conflict of views. Daru, upon not making a choice, inadvertently act a crime amongst those people. Throughout the story, Daru referred to the Arab as the guest. The irony of this story is Daru is actually the stranger in a strange bolt down while we might perceive the Arab as the guest.         In conclusion, we see that different cultures have conflicting views a! bout what is right and what is wrong. As an existentialist, Daru let the Arab decide his own fate. Daru felt if he took the Arab to jail, it would be wrong. He also felt if he told him to go free, it would be wrong against the French authority. Because Daru acted by not acting, he perchance committed a crime against the Algerian people. Ironically, Daru was in a catch 22. If you want to get a full essay, regularize it on our website:
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