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Albert CamusA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The cher ami visits Clamence in his apartment. Clamence is bedridden due to a fever. He blames it on malaria, which he claims he contracted when he was crowned pope; he then acknowledges that his truths are difficult to disentangle from his lies. Clamence believes that the truth is blinding and lies are comforting. Clamence’s apartment is sparse, and he gave up books long ago because he believes they are full of comforting lies and pretenses.
Clamence explains his status as pope to his curious friend. Clamence was in Paris when World War II began and considered joining the French Resistance. The Resistance, however, required life-endangering commitment and working underground. Clamence then ventured to North Africa and couldn’t decide which side to join. A friend gave him work in Tunisia, and the two were captured by the Germans because Clamence’s friend worked with French forces. Clamence was kept in a prisoner-of-war camp outside the city of Tripoli. Water and food were extremely scarce in the camp. Clamence met a Frenchman he calls “Du Guesclin” after the medieval knight of the same name. Du Guesclin was very religious and patriotic. The heat and lack of food and water made the prisoners delirious. Du Guesclin decided that the camp needed to pick a man to be the “pope,” one who would live on and carry the suffering and death experienced in the camp, no matter the cost. Du Guesclin asked for the man who had the “most failings,” and Clamence volunteered. Clamence watched over several weeks as his compatriots died of thirst. He had to continue living despite the death around him because of his position as “pope.”
Clamence asks his cher ami to lock the door and reveals that he possesses The Just Judges, a painting stolen from a Belgian church in 1934. (In real life, the panel has never been found.) Clamence says he took it from Mexico City, where the thief sold it to the bartender for a bottle of alcohol. Clamence believes it’s right to keep the painting because it allows him to dominate those who believe the replica in the church is the “real” Just Judges. He explains that the judges are on their way to see the “lamb” (baby Jesus), and keeping them from seeing the embodiment of innocence reveals the lack of innocence in the world.
Clamence finally reveals his solution: To judge everyone as guilty at all times. Good intentions, mistakes, and circumstances do not matter to him. Everybody is guilty of something, which alleviates his own guilt. As a “judge-penitent,” he is positioned to judge others and preach the virtues of slavery, which he presents as the only way for others to escape their crushing guilt. Clamence closed his law office in France and moved to Amsterdam to pursue this new calling. Mexico City is a crossroads for people from all walks of life, wealthy and impoverished, so he seeks out new acolytes there. Clamence is able to find “cultured bourgeois” people like his cher ami there who are the most susceptible to his “solution.” He has also accepted duplicity as a fundamental part of life and uses it to dominate others by tearing them down. Clamence discovers his cher ami is a lawyer in Paris, just like he was. Clamence is certain his cher ami will continue to visit him and be persuaded that slavery is necessary, and nobody is innocent. Finally, Clamence declares that he would not save the drowning woman if given a second chance, as his guilt allows him to dominate others forever.
Clamence’s fever takes hold as he reveals his “solution” to his cher ami. His rising fever and loss of lucidity between monologues is a metaphor for his unstable worldview; despite his convictions, it does not actually absolve him of the guilt that is eating away at him. Ironically, Clamence is elected pope in the prison camp because he admits to his failings, and Du Guesclin believes that “nominating oneself as [he] had done presupposed also the greatest virtue” (125)—it is virtuous to acknowledge one’s guilt. Their fellow prisoners agreed and elected Clamence as pope. Camus uses parallels between both of Clamence’s peer groups to explore the themes of guilt and absurdity. Clamence was held in high regard by both the lawyers and prisoners. Clamence seems able to stomach his reputation despite his guilt with the prisoners because they share their suffering together. Their deaths add to Clamence’s burden and allow him to carry on because he promised to carry their suffering after their deaths. Esteem from the prisoners comes from increasing burdens of guilt. Esteem from the lawyers, however, comes from presumed innocence and untainted virtue. The esteem he earns among the prisoners does not feel duplicitous to Clamence, who genuinely struggles with his duties as pope because of his survivor’s guilt.
Camus suggests here that, paradoxically, there is a truth to Clamence’s words. Clamence can only feel a sense of peace by taking on the guilt of outlasting the other prisoners. Clamence is crowned as the most innocent of the group by admitting to his failures. This appointment of innocence and virtue is bought with suffering, whereas the lawyers heaped praise on his head for handling cases that would never affect him personally. Clamence’s possession of The Just Judges verifies him as a judge because he alone knows where the “real” judges are. Anybody who sees the replica panel in the altarpiece is “judged” by a false replica. The painting locked in his cupboard is both a symbol of absurdity—nobody knows that Clamence has the real judges—and a symbol of his ability to judge. However, Clamence revels in the ability to dominate others that this paradoxical state of innocence gives him. He is “fortunate” that he will never get a second chance to save the woman because she contributes to his sense of guilt, which he uses to judge others. Clamence doesn’t evolve as a character throughout his monologues—in the end, he is unable to escape treating life as a game when he treats the raw experience of witnessing a death as an event that gives him license to judge others.
While Clamence is a static character, his circumstances in the novel change; he becomes sicker and sicker, and, in this final chapter, he is delirious with a fever. The pairing of this delirium with his final explanation of his worldview and so-called power reveals the absurdity of his “solution” and system of morality. With this, Camus concludes the novel by making a judgment on “master/slave morality” and nihilism as misguided and ridiculous.
By Albert Camus