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Self-consciosness Sartre Dostoyevsky Essay, Research Paper

In both Notes From the Underground, by Fyodor Dostoyevsky, and the drama No Exit, by Jean-Paul Sartre, we see that the characters have lost that province of comfort with or credence of one & # 8217 ; s self that is evident merely before interaction with other people. The diffidence that comes from interactions with others has diminished their self-respect, and they see themselves as, or are chiefly concerned with, what view they want or think others to hold of them. They are finally uncomfortable with their lives, and hence with the position they believe to project. The Underground Man, non officially named in the narrative, becomes progressively witting of himself throughout his life and it has lead to his ultimate isolation and nihilism. The three chief characters in No Exit, Garcin, Inez and Estelle, are all highly self-aware of their past actions, which have landed them in a snake pit in which interaction with other people is the anguish, non much different from our Underground Man. Self-consciousness is undeniably one of world & # 8217 ; s inner convulsion & # 8217 ; s, but in what manner does it look to consequence us and the characters in the narratives?

These character & # 8217 ; s sense of ego has become wholly dependent on the position of others. This is due to believing about themselves based on how another would see there lives. The Underground Man & # 8217 ; s uneasiness, his changeless analysis and alteration of his ain ideas and words, is one of the most of import elements of the Notes. The Underground Man is really cognizant, non merely of our presence as readers ( he invariably addresses us ) , but of our presence as Judgess, merely as he is everyone else, and was throughout his life. A black act is merely black in the eyes of others, as a adult male may be content to crush his married woman, but will be ashamed of it when others know of it and look down on him for making so. Though he states otherwise on more than one juncture, the Underground Man does really care a great trade what we think of him, and really may be why he is composing them.

This province of hypersensitivity has come about through his holding to face a position of himself he would reflect on compared to others. The Underground Man has come to be the manner he is because throughout his life he could non get by with himself in comparing to his milieus, in that he felt anomic and resentful of it. His childhood shows he was an orphan, which may hold started his inacceptance and insecurity. This insecurity would go forth him about friendless, except for Simonov, the lone friend from his school yearss that the Underground Man still speaks to, although the he thinks that Simonov despises him. All societal interactions for him were a life snake pit, as we see when he talks of his early workplace and how he hated everyone, and was hated by all. He tries to apologize this by stating merely saps are content with their being, and intelligent work forces like him are doomed to an sick destiny such as his.

The characters in No Exit are really dead, and in a snake pit rather similar to the earthly hell The Underground adult male now lives. The Underground Man has finally become stray due to his fright of interaction, while the damned in No Exit face a snake pit of this exact interaction, but without the option of the sad flight the Underground Man has sought. Alternatively of the expected fires and pitchforks of popular belief, they find themselves in a room furnished in Second Empire manner, in which they face infinity with each other. None of them will acknowledge why they have been damned to hell. Garcin says he was executed for being a pacificist while Inez insists a error has been made. It turns out, nevertheless, that Garcin cheated and mistreated his married woman, Inez seduced her cousin & # 8217 ; s married woman while populating with them, and Estelle cheated on her hubby and drowned her illicit babe.

From the beginning of the drama each character is insecure about if he & # 8217 ; s witting of the state of affairs he & # 8217 ; s in our non, picturing the interior conflict of experiencing good about one & # 8217 ; s self against what your witting Tells you. Garcin insists, he knows what the Valet is up to and that he & # 8217 ; s rather witting of his place. Inez, being a self-proclaimed & # 8220 ; damned

bitch” , instantly thinks the anguish is separation signifier person named Florence, who turns out to be the lover she seduced. However, she is speedy to state that this wont work, and that Florence was boring anyhow, demoing her uneasiness of what she did and her junior-grade effort to be rid of it.

Each of them are invariably cognizant of each other as Judgess of themselves, which in bend thrusts them huffy and is their anguish. Garcin is ever seeking to see what his old coworkers are stating about him back on Earth, clearly demoing his insecurity and self uncertainty in the eyes of others even when he & # 8217 ; s dead. There are no mirrors, which catch many of us looking into them to reassure ourselves. Estelle is invariably paranoid of her physical visual aspect in forepart of others, and is frenetic without any mirrors. This anguish straight attacks her self-aware. She is unable to get by with her self-aware the manner she & # 8217 ; s used to, by looking into a mirror at her beauty, reassuring herself. Here there is no flight organize the anxiousness her self-aware is doing her. Garcin tries to get by with his anguish foremost by inquiring the other two to maintain silent, a manner out of interaction so that one may try to bury about seeking to turn out oneself, but fails as the other two finally continue to speak. Second he seeks comfort in Inez, inquiring her to guarantee him he is non a coward. Both are efforts to convey about some kind of interaction that will free him of his burdened uneasiness, something the Underground Man does every bit good.

When the Underground Man goes to the diner with his old familiarities from school, he is trying the same thing. He seems to believe that by plunging himself in & # 8220 ; life, & # 8221 ; he might somehow set himself back into society, and in some manner recover his self-respect. On the manner there he fantasizes about doing friends with them and populating merrily of all time after, but besides fantasizes about pluging Zverkov, who is non friendly with him. He once more tries to emancipate himself from the nihilist he is going when he tries to carry Lisa, the cocotte he sleeps with, to give up her profession, as it is killing her both mentally and physically. However, he is unable to play this function for long, and when she visits him, he lashes out at her, and says he was merely seeking to mortify her.

The ground they can non get away the anguish of their being is because they have been excessively self-aware for excessively long. Finally, the freedom one experiences when he or she is non afraid of how they look, or what they do in life, is curtailed by the fact that they are so self-aware that they have limited there actions, and are excessively removed from society. In the instance of the three characters in No Exit, they excessively are limited in their actions in that they can merely try to be rid of their anguish, but each effort fails.

So we leave the characters in this province everlastingly. The Underground Man, as it says at the terminal of the narrative, will travel on composing more and more notes, but we may halt reading at that point. As for the three in snake pit, the can non get away, and even when the door to their room is opened, Garcin can non go forth because he has non yet freed himself from the interior anguish of his self-aware. The disaffection the Underground Man feels towards society is complete, and his self-aware supports it that manner, he can non get away it. He has become incapable of action for fright of humiliation, and choler at this fact. The three in No Exit must cover with their yesteryear in full, in forepart of each other, and hence can non get away their anguish, for this is precisely what cholers and frustrates them.

Our characters are doomed to populate a conflict of self-consciousness versus satisfactory being, in which satisfactory being can ne’er predominate because they are non satisfied with the life they lived, in truth they are rather ashamed of it, and have come to be so merely through being placed in a state of affairss in which they must speak of their black actions with other people, or unrecorded feeling ashamed of their existent being. It is this really interaction with people kick-starts the self-aware into self-reflection, and it is the same 1 that will torture our characters everlastingly.

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