附录B 外文原文
Medicine as an Absurdist Quest in Albert Camusrsquo; The Plague Excerpt
Robert J. Bonk
If any author truly can be born into the circumstances that would shape his literary future, then that author would be Albert Camus. Born in French-Colonial Algeria in 1913,Camus immediately experienced life as a Western outsider in an ostensibly Arab land. His home life provided few connections: Camus grew up not knowing his father, who had died as a soldier in World War I; his illiterate mother worked as a cleaner. Although not rendering “Camus a bitter or jealous man,” his impoverished childhood is critical for interpreting the “moral and political attitudes within his writing” (Bellos, 2004, p.xii).
Perhaps as a response or to challenge his difficult upbringing, Camus successfully threw himself into academic studies. As if to presage the inescapability from an absurd existence —as Camus would later postulate— illness in the forms of tuberculosis and depression had the potential to limit his experiences of the world, at least in a physical sense. The twists and turns of his adult life, however, were not to be limiting but exhilarating toward intellectual explorations of an increasingly estranged world. As a student, Camus earned scholarships and completed his studies at the University of Algiers. Fueling his literary interests, Camus joined with fellow young literati in the North Africa Literary School even while beginning his working career as a journalist. Eventually, Camus transitioned from factual newswriting into fictional literature to mark his individuality in an alienated world. Perhaps this life on the periphery fueled the power of his philosophical writing that remains his legacy to the world. Awarded the Nobel Prize in Literature in 1957, he would die just three years later in France from an automobile accident as one last whim from a capricious world (Literature Resource Center, 2004, n.pag.).
Not only the machinations of his personal life but also that of his very world would contribute to the development of Camusrsquo; absurdist stance. Philosophies like absurdism and its precursor existentialism arose in the mid-20th century as reactions to the senseless atrocities of the age —notably the horrors of two world wars fought on Camusrsquo; doorstep. Facing evils that could no longer be accepted as a “divine plan,” philosophers and writers grew disillusioned with age-old institutions like government and the church seemingly impotent to protect against or even explain the worldrsquo;s terrors (Ward, 1995, p.829). Soon, even the meaning of existence came into question: both existentialism and its offshoot absurdism posited no meaning for a world in which innocent infants could be slaughtered; hence, any meaning could derive only through an individualrsquo;s experiences.
Parting paths with his existentialist contemporary Jean-Paul Sartre, Camus expanded this lack of prima facie meaning to existence. Although one cannot know if existence has any meaning, Camus contends, virtue results from striving in the face of unknowing if life simply ends with death. Hence, Camus posits that living onersquo;s life to its fullest has more meaning that actually knowing whether that meaning indeed exists. In his treatise The Myth of Sisyphus, Camus explains absurdism as being “born of this confrontation between the human need and the unreasonable silence of the world”. The irrationality of a world without inherent meaning collides against the human need for a meaningful life, producing the struggle termed the absurd, much like “three characters in the drama” of humanity: the need for meaning, the lack of meaning, and the collision of these two within absurdity (Camus, 2004a, p.515). Camus uses his writing, such as The Plague, in a quest for meaning in an otherwise absurd world.
Camusrsquo; novel The Plague, which was originally published in 1947 in French as La Peste (Literature Resource Center, 2004), explores responses of bureaucratic government, dogmatic religion, and scientific medicine to a bubonic-like epidemic in Oran, a seaside Algerian town that soon becomes isolated from the world through a self-imposed quarantine. Within this microcosm, Camus dissects and diagnoses effects of disease: not so much the plague but more so his society. Isolated by sand and sea, inhabitants look in vain to societal institutions —government, religion, medicine— in their struggle to survive an epidemic elentlessly raising its death tolls daily. In this context, Camusrsquo; absurdism —human struggle when trapped between contradictory inevitabilities— coalesces within an estranged society impotent against an almost anthropomorphized infection fought by Dr. Bernard Rieux.
From this novelrsquo;s initial publication, though, Camusrsquo; eponymous plague would be overwhelmingly interpreted as allegory for the Nazi invasion of France, with characters configured to reflect the French Resistance (Bellos, 2004). Given Camusrsquo; background, not to mention the timing of the bookrsquo;s release, such interpretation is understandable. This allegorical role of Rieux “define[s] what is essential in contrast to all superfluous trivialities. All energies are concentrated on the fight against the plague (hellip;), which is futile in the sense that there is no cure for the deadly disease which kills mercilessly” (Charney, 1988, p.101). Yet the striving of Rieux and his colleagues against the plague commands “overwhelming compassion and respect for people and their pursuit of meaning” (Rhein, 1989, p.42). Whether as an allegory for Nazism or any other evil, the plague in Oran “represents whatever threatens to prevent the fulfillment of human life within the given limits of an absurd world” (Rhein, 1989, p.37).characters are neither sinners nor saints; even the plague defies medical classification as it departs Oran as inexplicably as it arrived. Because “[t]his lack of
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附录B 外文原文
Medicine as an Absurdist Quest in Albert Camusrsquo; The Plague Excerpt
Robert J. Bonk
If any author truly can be born into the circumstances that would shape his literary future, then that author would be Albert Camus. Born in French-Colonial Algeria in 1913,Camus immediately experienced life as a Western outsider in an ostensibly Arab land. His home life provided few connections: Camus grew up not knowing his father, who had died as a soldier in World War I; his illiterate mother worked as a cleaner. Although not rendering “Camus a bitter or jealous man,” his impoverished childhood is critical for interpreting the “moral and political attitudes within his writing” (Bellos, 2004, p.xii).
Perhaps as a response or to challenge his difficult upbringing, Camus successfully threw himself into academic studies. As if to presage the inescapability from an absurd existence —as Camus would later postulate— illness in the forms of tuberculosis and depression had the potential to limit his experiences of the world, at least in a physical sense. The twists and turns of his adult life, however, were not to be limiting but exhilarating toward intellectual explorations of an increasingly estranged world. As a student, Camus earned scholarships and completed his studies at the University of Algiers. Fueling his literary interests, Camus joined with fellow young literati in the North Africa Literary School even while beginning his working career as a journalist. Eventually, Camus transitioned from factual newswriting into fictional literature to mark his individuality in an alienated world. Perhaps this life on the periphery fueled the power of his philosophical writing that remains his legacy to the world. Awarded the Nobel Prize in Literature in 1957, he would die just three years later in France from an automobile accident as one last whim from a capricious world (Literature Resource Center, 2004, n.pag.).
Not only the machinations of his personal life but also that of his very world would contribute to the development of Camusrsquo; absurdist stance. Philosophies like absurdism and its precursor existentialism arose in the mid-20th century as reactions to the senseless atrocities of the age —notably the horrors of two world wars fought on Camusrsquo; doorstep. Facing evils that could no longer be accepted as a “divine plan,” philosophers and writers grew disillusioned with age-old institutions like government and the church seemingly impotent to protect against or even explain the worldrsquo;s terrors (Ward, 1995, p.829). Soon, even the meaning of existence came into question: both existentialism and its offshoot absurdism posited no meaning for a world in which innocent infants could be slaughtered; hence, any meaning could derive only through an individualrsquo;s experiences.
Parting paths with his existentialist contemporary Jean-Paul Sartre, Camus expanded this lack of prima facie meaning to existence. Although one cannot know if existence has any meaning, Camus contends, virtue results from striving in the face of unknowing if life simply ends with death. Hence, Camus posits that living onersquo;s life to its fullest has more meaning that actually knowing whether that meaning indeed exists. In his treatise The Myth of Sisyphus, Camus explains absurdism as being “born of this confrontation between the human need and the unreasonable silence of the world”. The irrationality of a world without inherent meaning collides against the human need for a meaningful life, producing the struggle termed the absurd, much like “three characters in the drama” of humanity: the need for meaning, the lack of meaning, and the collision of these two within absurdity (Camus, 2004a, p.515). Camus uses his writing, such as The Plague, in a quest for meaning in an otherwise absurd world.
Camusrsquo; novel The Plague, which was originally published in 1947 in French as La Peste (Literature Resource Center, 2004), explores responses of bureaucratic government, dogmatic religion, and scientific medicine to a bubonic-like epidemic in Oran, a seaside Algerian town that soon becomes isolated from the world through a self-imposed quarantine. Within this microcosm, Camus dissects and diagnoses effects of disease: not so much the plague but more so his society. Isolated by sand and sea, inhabitants look in vain to societal institutions —government, religion, medicine— in their struggle to survive an epidemic elentlessly raising its death tolls daily. In this context, Camusrsquo; absurdism —human struggle when trapped between contradictory inevitabilities— coalesces within an estranged society impotent against an almost anthropomorphized infection fought by Dr. Bernard Rieux.
From this novelrsquo;s initial publication, though, Camusrsquo; eponymous plague would be overwhelmingly interpreted as allegory for the Nazi invasion of France, with characters configured to reflect the French Resistance (Bellos, 2004). Given Camusrsquo; background, not to mention the timing of the bookrsquo;s release, such interpretation is understandable. This allegorical role of Rieux “define[s] what is essential in contrast to all superfluous trivialities. All energies are concentrated on the fight against the plague (hellip;), which is futile in the sense that there is no cure for the deadly disease which kills mercilessly” (Charney, 1988, p.101). Yet the striving of Rieux and his colleagues against the plague commands “overwhelming compassion and respect for people and their pursuit of meaning” (Rhein, 1989, p.42). Whether as an allegory for Nazism or any other evil, the plague in Oran “represents whatever threatens to prevent the fulfillment of human life within the given limits of an absurd world” (Rhein, 1989, p.37).characters are neither sinners nor saints; even the plague defies medical classification as it departs Oran as inexplicably as it arrived. Because “[t]his lack of
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