In the novel The Stranger, Albert Camus unfold Meursault’s vapid life, in a first-person viewpoint narrative, beginning with the death of his mother and ending adequately with his own imprisonment and execution. The focal theme is that the understanding of human life is grasped just in light of mortality, or the reality of death; and in demonstrating how Meursault’s perception changes over the course of the novel, Camus indicates how confronting the likelihood of death has an impact on one’s view of life. One of the main themes of the story, absurdity, revolves around Meursault’s personality. His expressions of physical, emotional, and mental alienation from society helps readers capture the essence of Meursault’s indifference towards life. Meursault refuses to consider God, fate, or any religious beliefs as a justifiable reason for a mans action. He allows himself to utilize rationale. Regardless of whether it is his mom’s demise, Marie’s have to demonstrate his adoration for her, or even his own particular execution. Meursault is constantly mindful of the aimlessness of all undertakings notwithstanding demise: he has no desire to progress socio-monetarily; he is apathetic about being companions with Raymond and about wedding Marie; and so on. In any case, this mindfulness is some way or another never sufficiently exceptional to include mindfulness – that is, he never considers the importance of death for him – until the point that he is in jail anticipating execution.In harping on the shot of an interest, he is compelled to think about refusal of execution; in this way, he should confront the reality of his passing, whether it comes now or later. One he truly, genuinely concedes demise’s certainty, he enables himself to consider the possibility of a fruitful interest, of being without set to live maybe forward more years previously biting the dust. Presently he starts to see the estimation of every snapshot of the life before death. In light of death, nothing matters – with the exception of being alive. The importance, esteem, criticalness of life is just found in light of death, yet many people miss it through the dissent of death. The expectation of longer life brings Meursault happiness. Maybe to end the irritating vulnerability and in this way escalate his attention to death’s certainty (consequently of the fact of life), or, more outlandish, as a motion of misery, Meursault turns down his entitlement to offer. Before long a short time later, the jail cleric demands conversing with him. Meursault concedes his dread yet denies lose hope and has no enthusiasm for the minister’s give a false representation of in an existence in the wake of death. The possibility of death makes one mindful of one’s life, one’s critical being – that which is temporary and will one day end. At the point when this imperativeness is value, one feels free for there is no desperation to play out some demonstration that will cross out the likelihood of death, seeing as if there is no such demonstration. In this sense, all mortal activity is ludicrous, and the genuine opportunity is to know about existence in its really and absolutely, of its excellence and its torment.