Clamence vs. Dostoevsky: An Approach to La Chute

Abstract

EAN BAPTISTE CLAMENCE, the Janus-faced protagonist of Camus' last novel, Fall (La Chute, 1956), has been called a Satanic figure, a Virgil guiding the reader through a contemporary Inferno, and another John the Baptist. He has been considered the epitome of modern man, and his caricature; a reflection of his author's doubts and weaknesses, of Camus' attempts at self-parody, and of Camus' turning toward Christianity. He has been viewed as an illustration to Rebel, and as Camus' rejoinder in the controversy following the book's publication. Finally, he has been identified with Camus' critique of Sartre and the men surrounding him.1 A good case has been made for most of these interpretations, even though some of them are contradictory. It need therefore not surprise us to encounter equally contradictory answers to the question of whether Fall is ambivalent or ambiguous, masterpiece or failure. Despite this wide range of interpretations and comparisons, one important and illuminating approach to Fall has not been sufficiently explored-its relationship to Dostoevsky's works, especially Notes from Underground and The Dream of a Ridiculous Man.2 This neglect is