Meursault from L’Étranger, and “Elle” from Hiroshima mon amour are tragic characters who, as if driven by an ancient fatum, have committed a crime, blood crime or crime of love, for which they must pay. While the first is accused of insensitivity and sentenced to death because justice sees him as a “moral monster”, the second is found guilty of “horizontal collaboration” and punished by “popular justice”. From then on, locked up in a cell for Meursault, or alternately in a room and a cellar for “Elle”, these two characters seek the faces and voices of past loves. The quest for these faces and voices from a bygone world which make the protagonists suffer by their absence will give way for Meursault and “Elle” to a state of peace that will allow them to come to terms with their past. While the first character, who has changed in prison, is going to rediscover his mother and finally understand her desire to reembrace life in the home for the elderly, the second character, “healed” by the Japanese, will finally find a sentimental balance.
Legitimate punishment of blasphemy: Contestation between the legal system and popular justice
