Clamence thus arrives at the conclusion that his whole life has in fact been lived in search of honour, recognition, and power over others. Having realized this, he can no longer live the way he once did.
Crisis
Clamence initially attempts to resist the sense that he has lived hypocritically and selfishly. He argues with himself over his prior acts of kindness, but quickly discovers that this is an argument he cannot win. He reflects, for example, that whenever he had helped a blind man across the street — something he especially enjoyed doing — he would doff his hat to the man. Since the blind man obviously cannot see this acknowledgement, Clamence asks, “To whom was it addressed? To the public. After playing my part, I would take my bow” (Camus 301). As a result, he comes to see himself as duplicitous and hypocritical.
This realization precipitates an emotional and intellectual crisis for Clamence which, moreover, he is unable to avoid, having now discovered it; the sound of laughter that first struck him on the Pont des Arts slowly begins to permeate his entire existence. In fact, Clamence even begins laughing at himself as he defends matters of justice and fairness in court. Unable to ignore it, Clamence attempts to silence the laughter by throwing off his hypocrisy and ruining the reputation he acquired therefrom.
Clamence proceeds to “destroy that flattering reputation” (Camus 326) primarily by making public comments that he knows will be received as objectionable: telling beggars that they are “embarrassing people,” declaring his regret at not being able to hold serfs and beat them at his whim, and announcing the publication of a “manifesto exposing the oppression that the oppressed inflict on decent people.” In fact, Clamence even goes so far as to consider
jostling the blind on the street; and from the secret, unexpected joy this gave me I recognized how much a part of my soul loathed them; I planned to puncture the tyres of wheelchairs, to go and shout ‘lousy proletarian’ under the scaffoldings on which labourers were working, to smack infants in the subway. … the very word ‘justice’ gave me strange fits of rage. (Camus 325)
To Clamence’s frustration and dismay, however, his efforts in this regard are ineffective, generally because many of the people around him refuse to take him seriously; they find it inconceivable that a man of his reputation could ever say such things and not be joking. Clamence eventually realizes that his attempts at self-derision can only fail, and the laughter continues to gnaw at him. This is because his actions are just as dishonest: “In order to forestall the laughter, I dreamed of hurling myself into the general derision. In fact, it was still a question of dodging judgment. I wanted to put the laughers on my side, or at least to put myself on their side” (Camus 325).
Ultimately, Clamence responds to his emotional-intellectual crisis by withdrawing from the world on precisely those terms. He closes his law practice, avoids his former colleagues in particular and people in general, and throws himself completely into uncompromising debauchery; while humankind may be grossly hypocritical in the areas from which he has withdrawn, “no man is a hypocrite in his pleasures” (Camus 311 – a quotation from Samuel Johnson). Debauchery (women and alcohol) does prove a temporarily effective means of silencing the laughter—the biting sense of his own hypocrisy—because, as he explains, it thoroughly dulls his wits. Unfortunately, he finds himself unable to maintain this lifestyle due to personal failings that he describes as follows: “…my liver and an exhaustion so terrible that it still has not left me (?)”
Life in Amsterdam
The last of Clamence’s monologues takes place in his apartment in the (former) Jewish Quarter, and recounts more specifically the events which shaped his current outlook; in this regard his experiences during the Second World War are crucial. With the outbreak of war and the fall of France, Clamence considers joining the French Resistance, but decides that doing so would ultimately be futile. He explains,
The undertaking struck me as a little mad … I think especially that underground action suited neither my temperament nor my preference for exposed heights. It seemed to me that I was being asked to do some weaving in a cellar, for days and nights on end, until some brutes should come to haul me from hiding, undo my weaving and then drag me to another cellar to beat me to death. I admired those who indulged in such heroism of the depths but couldn’t imitate them. (Camus 342)
Instead, Clamence decides to flee Paris for London, and takes an indirect route there, moving through North Africa; however, he meets a friend while in Africa and decides to stay and find work, eventually settling in Tunis. But after the Allies land in Africa, Clamence is arrested by the Germans and thrown into a concentration camp — “chiefly as a security measure,” he assures himself (Camus 343).
While interned, Clamence meets a comrade, introduced to the reader only as “Du Guesclin”, who had fought in the Spanish Civil War, was captured by “the Catholic general”, and now found himself in the hands of the Germans in Africa. These experiences subsequently caused the man to lose his faith in the Catholic Church (and perhaps in God as well); as a form of protest Du Guesclin announces the need for a new Pope — one who will “agree to keep alive, in himself and in others, the community of our sufferings” — to be chosen from among the prisoners in the camp.
As the man with “the most failings,” Clamence jokingly volunteers himself, but finds that the other prisoners agree with his appointment. As a result of being selected to lead a group of prisoners as “Pope,” Clamence is afforded certain powers over them, such as how to distribute food and water and deciding who will do what kind of work. “Let’s just say that I closed the circle,” he confesses, “the day I drank the water of a dying comrade. No, no, it wasn’t Du Guesclin; he was already dead, I believe, for he stinted himself too much” (Camus 343-4).
Clamence then relates the story of how a famous fifteenth-century painting, a panel from the Ghent Altarpiece known as The Just Judges, came into his possession. One evening a regular patron of Mexico City entered the bar with the priceless painting and sold it for a bottle of jenever to the bartender who, for a time, displayed the piece prominently on the wall of his bar. (Both the man who sold the painting and the now-vacant place on the wall where it hung are cryptically pointed out at the beginning of the novel.)
However, Clamence eventually informs the bartender that the painting is in fact stolen, that police from several countries are searching for it, and offers to keep it for him; the bartender immediately agrees to the proposal. Clamence attempts to justify his possession of the stolen painting in a number of ways, primarily “because those judges are on their way to meet the Lamb, because there is no lamb or innocence any longer, and because the clever rascal who stole the panel was an instrument of the unknown justice that one ought not to thwart” (Camus 346).
Finally, Clamence employs the imagery of the Ghent Altarpiece and The Just Judges to explain his self-identification as a “judge-penitent”. This essentially espouses a doctrine of relinquished freedom as a method of enduring the suffering imposed on us by virtue of living in a world without objective truth and one that is therefore, ultimately meaningless. With the death of God, one must also accept by extension the idea of universal guilt and the impossibility of innocence. Clamence’s argument posits, somewhat paradoxically, that freedom from suffering is attained only through submission to something greater than oneself.
Clamence, through his confession, sits in permanent judgment of himself and others, spending his time persuading those around him of their own unconditional guilt. The novel ends on a sinister note: “Pronounce to yourself the words that years later haven’t ceased to resound through my nights, and which I will speak at last through your mouth: “O young girl, throw yourself again into the water so that I might have a second time the chance to save the two of us!” A second time, eh, what imprudence! Suppose, dear sir, someone actually took our word for it? It would have to be fulfilled. Brr…! the water is so cold! But let’s reassure ourselves. It’s too late now, it will always be too late. Fortunately!”
