Jean-Paul Sartre - No Exit

Здесь есть возможность читать онлайн «Jean-Paul Sartre - No Exit» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Философия, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

No Exit: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «No Exit»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

JEAN Paul Sartre's No Exit was first performed at the Vieux-Colombier in May 1944, just before the liberation of Paris. Three characters, a man and two women, find themselves in hell, which for them is a living-room with Second Empire furniture. Each of the characters needs the other two in order to create some illusion about himself. Since existence, for Sartre, is the will to project oneself into the future-to create one's future-the opposite of existence, where man has no power to create his future, his hell. This is the meaning of the Sartrean hell in the morality play No Exit. Garcin's sin had been cowardice, and in hell he tries to use the two women, who are locked up forever with him in the same room, under the same strong light, as mirrors in which he will see a complacent and reassuring picture of himself.
This play, an example of expert craftmanship so organized that the audience learns very slowly the facts concerning the three characters, is Sartre's indictment of the social comedy and the false role that each man plays in it. The most famous utterance in the play, made by Garcin, when he says that hell is other people, l'enfer, c'est les autres, is, in the briefest form possible, Sartre's definition of man's fundamental sin. When the picture a man has of himself is provided by those who see him, in the distorted image of himself that they give back to him, he has rejected what the philosopher has called reality. He has, moreover, rejected the possibility of projecting himself into his future and existing in the fullest sense. In social situations we play a part that is not ourself. If we passively become that part, we are thereby avoiding the important decisions and choices by which personality should be formed.
After confessing her sins to Garcin, Inès acknowledges her evil and concludes with a statement as significant as Garcin's definition of hell. She needs the suffering of others in order to exist. (Moi, je suis méchante: ça veut dire que j'ai besoin de la souffrance des autres pour exister…) The game a man plays in society, in being such and such a character, is pernicious in that he becomes caught in it. L'homme s'englue is a favorite expression of Sartre. The viscosity (viscosité) of such a social character is the strong metaphor by which Sartre depicts this capital sin and which will end by making it impossible for man to choose himself, to invent himself freely. The drawing-room scene in hell, where there is no executioner because each character tortures the other two, has the eeriness of a Gothic tale, the frustration of sexuality, the pedagogy of existentialist morality. The least guilty of the three seems to be Garcin, and he suffers the most under the relentless intellectualizing and even philosophizing of Inès. At the end of the play, Garcin complains of dying too early. He did not have time to make his own acts. (Je suis mort trop tôt. On ne m'a pas laissé le temps de faire mes actes.) Inès counters this (she has an answer to everything, Garcin is going to say) with the full Sartrean proclamation: "You are nothing else but your life." (Tu n'es rien d'autre que ta vie…)
No further argument seems possible after this sentence, and the play ends three pages later when the full knowledge of their fate enters the consciousness of the three characters and Garcin speaks the curtain line: Eh bien, continuous… ("Well, well, let's get on with it…"). This ultimate line which, paradoxically, announces the continuation of the same play, was to be echoed ten years later in the concluding line of Samuel Beckett's Waiting for Godot. The two plays bear many resemblances both structurally and philosophically.

No Exit — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «No Exit», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

GARCIN: You disgust me, both of you.

ESTELLE: What are you up to?

GARCIN: I'm going.

INEZ: You won't get far. The door is locked.

GARCIN: I'll MAKE them open it.

ESTELLE: Please! Please!

INEZ: Don't worry, my pet. The bell doesn't work.

GARCIN: I tell you they shall open. I can't endure it any longer, I'm through with you both. Go away.(to Estelle) You're even fouler than she. I won't let myself get bogged in your eyes. You're soft and slimy. Ugh! Like an octopus. Like a quagmire.

ESTELLE: I beg you, oh, I beg you not to leave me. I'll promise not to speak again, I won't trouble you in any way- but don't go. I daren't be left alone with Inez, now she's shown her claws.

GARCIN: Look after yourself. I never asked you to come here.

ESTELLE: Oh, how mean you are! Yes, it's quite true you're a coward.

INEZ: Well, my little sparrow fallen from the nest, I hope you're satisfied now. You spat in my face- playing up to him, of course- and we had a tiff on his accound. But he's going, and a good riddance it will be. We two women will have the place to ourselves.

ESTELLE:You won't gain anything. If that door opens, I'm going too.

INEZ: Where?

ESTELLE: I don't care where. As far from you as I can.

GARCIN: Open the door! Open,blast you! I'll endure anything, your red-hot tongs and molten lead, your racks and prongs and garrotes- all your fiendish gadgets, everything that burns and flays and tears- I'll put up with any torture you impose. Anything, anything would be better than this agony of mind, this creeping pain that gnaws and fumbles and caresses one and never hurts quite enough. Now will you open? (THE DOOR

FLIES OPEN: a long silence.)

INEZ: Well, Garcin? You're free to go.

GARCIN: Now I wonder why that door opened.

INEZ: What are you waiting for? Hurry up and go.

GARCIN: I shall not go.

INEZ: And you, Estelle? So what? Which shall it be? Which of the three of us will leave? The barrier's down, why are we waiting? But what a situation! It's a scream! We're inseparables!

ESTELLE: Inseparables? Garcin, come and lend a hand. Quickly. We'll push her out and slam the door on her. That'll teach her a lesson.

INEZ:(Struggling with Inez) Estelle, I beg you, let me stay. I won't go, I won't go! Not into the passage.

GARCIN: Let go of her.

ESTELLE: You're crazy. She hates you.

GARCIN: It's because of her I'm staying here.

INEZ: Because of me? All right, shut the door. It's ten times hotter here since it opened. Because of me, you said?

GARCIN:Yes. YOU, anyhow, know what it means to be a coward.

INEZ: Yes, I know.

GARCIN: And you know what wickedness is, and shame, and fear. There were days when you peered into yourself, into the secret places of your heart, and hwat you saw there made you faint with horror. And then, next day, you didn't know what to make of it, you couldn't interpret the horror you had glimpsted the day before. Yes, you know what evil costs. And when you say I'm a coward, you know from experience what that means. Is that so?

INEZ: Yes.

GARCIN: So it's you whom I have to convince; you are of my kind. Did you suppose I meant to go? No, I couldn't leave you here, gloating over my defeat, with all those thoughts about me running in your head.

INEZ: Do you really wish to convince me?

GARCIN: THat's the one and only thing I wish for now. I can't hear them any longer, you know. Probably that means they're through with me. For good and all. The curtain's down, nothing of me is left on earth- not even the name of coward. So, Inez, we're alone. Only you two remain to give a thought to me. She- she doesn't count. It's you who matter; you who hate me. If you'll have faith in me I'm saved.

INEZ: It won't be easy. Have a look at me. I'm a hard-headed woman.

GARCIN: I'll give you all the time that's needed.

INEZ:Yes, we've lots of time in hand. ALL time.

GARCIN: Listen! Each man has an aim in life, a leading motive; that's so, isn't it? Well, I didn't give a damn for wealth, or for love. I aimed at being a real man. A tough, as they say. I staked everything on the same horse… Can one possibly be a coward when one's deliberately courted danger at every turn? And can judge a life by a single action?

INEZ: Why not? For thirty years you dreamt you were a hero, and condoned a thousand petty lapses-because a hero, of course, can do no wrong.

An easy method, obviously. Then a day came when you were up against it, the red light of real danger- and you took the train to Mexico.

GARCIN: I "dreamt," you say. It was no dream. When I chose the hardest path, I made my choice deliberately. A man is what he wills himself to be.

INEZ: Prove it. Prove it was no dream.It's what one does, and nothing else, that shows the stuff one's made of.

GARCIN: I died too soon. I wasn't allowed time to-to do my deeds.

INEZ: One always dies too soon- or too late. And yet one's whole life is complete at that moment, with a line drawn neatly under it, ready for the summing up. You are- your life, and nothing else.

GARCIN: What a poisonous woman you are! With an answer for everything.

INEZ: Now then! Don't lose heart. It shouldn't be so hard, convincing me. Pull yourself together, man, rake up some arguments. Ah, wasn't I right when I said you were vulnerable? Now you're going to pay the price, and what a price! You're a coward, Garcin, because I wish it! I wish it- do you hear?- I wish it. And yet, just look at me, see how weak I am, a mere breath on the air, a gaze observing you, a formless thought that thinks you. Ah, they're open now, those big hands, those coarse, man's hands! But what do you hope to do? You can't throttle thoughts with hands. So you've no choice, you must convince me, and you're at my mercy.

ESTELLE: Garcin!

GARCIN: What?

ESTELLE: Revenge yourself.

GARCIN: How?

ESTELLE: Kiss me, darling--then you'll hear her squeal.

GARCIN: That's true, Inez. I'm at your mercy, but you're at mine as well.

INEZ: Oh, you coward, you weakling, running to women to console you!

ESTELLE: That's right, Inez. Squeal away.

INEZ: What a lovely pair you make! If you could see his big paw splayed out on your back, rucking up your skin and creasing the silk. Be careful, though! He's perspiring, his hand will leave a blue stain on your dress.

ESTELLE: Squeal away, Inez, squeal away!…Hug me tight, darling; tighter still--that'll finish her off, and a good thing too!

INEZ: Yes, Garcin, she's right. Carry on with it, press her to you till you feel your bodies melting into each other; a lump of warm, throbbing flesh…

Loe's a grand solace, isn't it, my friend? Deep and dark as sleep. But I'll see you don't sleep.

ESTELLE: Don't listen to her. Press your lips to my mouth. Oh, I'm yours, yours, yours.

INEZ: Well, what are you waiting for? Do as you're told. What a lovely scene: coward Garcin holding baby-killer Estelle in his manly arms! Make your stakes, everyone. Will coward Garcin kiss the lady, or won't he dare? What's the betting? I'm watching you, everybody's watching, I'm a crowd all by myself. Do you hear the crowd? Do you hear them muttering, Garcin? "Coward!Coward!" --that's what they're saying…It's no use trying to escape, I'll never let you go. What do you hope to get from her silly lips? Forgetfulness? But I shan't forget you, not I! "It's I you must convince."

So come to me. I'm waiting. Come along, now…Look how obedient he is, like a well-trained dog who comes when his mistress calls. You can't hold him, and you never will.

GARCIN: Will night never come?

INEZ: Never.

GARCIN: You will always see me?

INEZ: Always.

GARCIN: This bronze. Yes, now's the moment; I'm looking at this thing on the mantelpiece, and I understand that I'm in hell. I tell you, everything's been thoughtout beforehand. They knew I'd stand at the fireplace stroking this thing of bronze, with all those eyes intent on me.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «No Exit»

Представляем Вашему вниманию похожие книги на «No Exit» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «No Exit»

Обсуждение, отзывы о книге «No Exit» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x