1. THE SUN, HEAT, AND WEATHER
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Symbolism, Imagery, Allegory
Perhaps more than facial expressions, the sun is an apt indicator (and perhaps, predicting device
for us, much like Punxsutawney Phil). However, also like Punxsutawney Phil, these predictions
are vague and hard-to-read. Depending on its intensity, the sun either makes Meursault sleepy,
angry, happy, or resentful. Or Dopey. Or Sneezy. For a guy with a limited range of emotions to
begin with, this is quite extensive. It’s almost as though Meursault is using the sun as an excuse
to justify every feeling he has. And the murder he commits.
So let’s take a look at this murder bit. Just as Meursault is about to turn around, to leave the
beach altogether, we hear this line: "But the whole beach, throbbing in the sun, was pressing on
my back." "But," he says. He would have left, but the sun was too intense. The sun "[makes him]
move forward" toward the spring (and therefore, toward the Arab).
What kind of guy lets the weather dictate his actions? As we’ve seen many times before,
Meursault is a "path of least resistance" kind of guy. He’s also mentioned that his "physical
needs often [get] in the way of [his] feelings." We see these both at play here; it’s easier for
Meursault to step towards the cool water and away from the sun, and his feelings of
apprehension (probably about the impending showdown at high noon) are inhibited by his
physical need to cool off.
It’s also perfectly reasonable to claim that Meursault is like an element of nature himself. After
all, he claims at the end of the text that he’s found a kinship with world – that it is so much like
himself, a "brother," really. Additionally, if all living beings are made equal by death (which
Meursault argues at the end of The Stranger), then he is just a creature of the world himself; it
makes sense, then, that he’s subject to his physical surroundings. We shouldn’t think of him as
any sort of higher level being – just as an animal with physical needs, pains, and desires.
THE OLD, ODD, ROBOTIC WOMAN
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Symbolism, Imagery, Allegory
Appearing in both Part I, Chapter Five and in Part II, Chapter Three, this woman arouses

2. Meursault’s curiosity because of her peculiarity and meticulousness. Intrigued by her machine-
like qualities, he tries to figure her out by studying her at the diner and then following her
afterwards. Later, seeing her stare in court at him without emotion, Meursault is unnerved. This
woman seems to move along in her own world, set in her ways and oblivious to society’s
judgments. In many senses, she symbolizes the mechanisms that define Meursault. She
operates on the same basic principles, but the outcome is very different for her than our
protagonist – she blends in as a spectator at the trial.
THE CRUCIFIX
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Symbolism, Imagery, Allegory
The obvious symbolism here is Christianity, but the crucifix is more than that in this novel. It also
represents the Afterlife, society’s acceptance of it, and man’s collective search for a higher order
or meaning that renders significant an otherwise absurd life. In stark contrast to the Absurdist
that is Meursault (and Camus), the crucifix also represents everything that Meursault does not
believe in. Rejecting it twice (once from the magistrate judge and the second time from the
chaplain), Meursault detests the notion that his life must have any rational explanation or
significance. Meursault defies the game society plays in a futile attempt in search of meaning –
something larger and grander. He does not believe in it, and is content without it.
THE COURTROOM
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Symbolism, Imagery, Allegory
Not just a place where Meursault’s life is on trial, the courtroom also symbolizes society’s forum
in The Stranger. The judge is the self-proclaimed "moral umpire," calling the shots. The jurors
are representatives sent by society to cast their judgments (and stones) at Meursault. The entire
trial symbolizes society’s attempt to rationalize a universe – or a chain of events – without
order. The verdict represents society’s rejection of Meursault’s nonconforming ways.
YOUNG REPORTER IN COURTROOM
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Symbolism, Imagery, Allegory
Appearing at Meursault’s trial in Part II, Chapter Three introduces a young reporter wearing gray
flannels and a blue tie who studies Meursault intently with his very bright eyes, betraying no
emotion. Meursault confesses that this gives him "the odd impression of being watched by
[him]self." With that subtlety, we note that this calm young reporter represents either

3. Meursault or Albert Camus – either way, an Absurdist.
LAUGHING AND SWIMMING
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Symbolism, Imagery, Allegory
Laughing and swimming are the two actions that remind us that, in fact, Meursault actually is
human after all. Meursault is strangely attracted to laughter, as we all are in some way, we
suppose. He finds Raymond instantly friendly – once the man laughs. His heart melts and he
wants Marie – yes, in that way – each time she laughs. For Meursault perhaps, laughter
symbolizes innocence, simplicity, and nonchalance. (Yes, everything good.) What is true of
laughter is also true for swimming. Meursault loves to swim. Marie adores swimming. The two
meet while they were swimming, and Meursault essentially makes his first move while in the
water. Carefree, wholehearted goodness? You bet.
COLORS
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Symbolism, Imagery, Allegory
Meursault devotes significant attention to the different colors of the sky, the sun’s rays at
different times of the day, the beach, the ocean, etc. In this book, green is usually associated
with happy moments, which we know from the vague and undecipherable line: "The sky was
green; I felt good." Red colors are associated with anger (like the Arab on the beach scene) or
sex (like Marie’s dress). It’s probably no coincidence that these two are linked (as they are with
Raymond and his ex-mistress).