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Terror And Tragic Optimism As Sustaining Constructs In Camus’s The Plague And Soyinka’s Season Of Anomy

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Abstract

Camus’s The Plague has been read variously as an allegory of Nazi terror in France as well as a depiction of Camus’s absurdist philosophy.

Many critics of Soyinka’s Season of Anomy strangely also have interpreted the text as an allegory of the Nigerian civil war in which terror is seen as a political weapon.

Although these modes of reading explore the resistance to terror, critical reading of a work cannot be achieved through allegory which searches for meaning outside the text.

The present reading, therefore, while distancing itself from the above perspectives, undertakes a comparative examination of the two novels in order to demonstrate that terror and tragic optimism are their sustaining constructs. The study examines tragic optimism following Nietzsche’s notion of the universal instinct.

In his theory of the Ubermensch, Nietzsche presents the figure of the Overman who is able to shatter the rules of rationality that are often built on mediocrity, and set up new ones out of his own superabundant life and power.

Introduction

Nietzsche’s theory of the Ubermensch (the Overman) shows that the superior individual, propelled by tragic optimism, struggles relentlessly and cheerfully in the face of terror, a notion that is also applicable to characters in literature.

In Camus’s The Plague and Soyinka’s Season of Anomy, tragic optimism shows the hero’s defiant will to struggle in the face of terrible circumstances.

Literary studies in general and tragedy in particular, grapple with this question of the impulse that propels the hero’s defiant will to struggle in the face of terror.

To be sure, Aristotle in his theory of tragedy, provides the background for apprehending the hero as one who must show great courage in the face of adversity.

This individual must be accounted to be “more than man” (Oedipus the King, lines 29) in as much as the experience facing him is more than man.

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