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Albert CamusA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The patricians gather to watch a performance from Caligula. Helicon and Caesonia introduce him and declare that the gods have come to earth, but when Caligula appears, the stage directions note that he is “grotesquely attired as Venus” (40). Caesonia leads the crowd of patricians in a litany of prayers, many of them absurd and blasphemous, and the audience obediently repeats them. Some of the prayers invoke Venus’s character, but others appear to echo Caligula’s nihilism: “Make known to us the truth about this world—which is that it has none […]. And grant us strength to live up to this verity of verities” (40-41).
After the play, Scipio, deeply offended, accuses Caligula of blasphemy. While neither of them believes in the gods, Scipio feels that one shouldn’t disrespect what many hold to be sacred. Caligula says that he is offended by the very notion of the gods and how they behave; to make his mark against them, his goal is to outdo them in capriciousness. When Scipio accuses him of playing the tyrant, Caligula objects and says that he has avoided starting wars out of respect for human life; the devastation wreaked in his reign is far less than that of a tyrant.
Caligula asks Helicon for an update on capturing the moon. Helicon tries to warn Caligula that there is a plot against his life, but Caligula answers with repeated fantasies about catching the moon. Helicon leaves Caligula with evidence: a tablet that shows the assassination plot in motion, with Cherea as the ringleader. Soon a patrician enters and bears the same warning to Caligula. The emperor still does not listen. He toys with the patrician until the patrician admits that, contrary to what he said, there cannot possibly be a plot against Caligula’s life. Caligula turns the dialogue wherever he wants it to go—not unaware of danger but choosing not to discuss it.
Caligula summons Cherea. While the emperor waits for Cherea to arrive, he addresses his reflection in the mirror, providing a rare moment in which the veil falls away from his self-performance: “You decided to be logical, didn’t you, poor simpleton?” he says to himself. “The question now is: Where will that take you?” (49). He reaffirms his intention to follow his logic to the end. When Cherea appears, Caligula engages him in what at first appears to be an honest discussion of philosophical principles. Cherea says that Caligula’s perspective is logical, but that it is not a sound basis for living one’s life. Cherea wants to live in a safe and predictable world, even if it is built on logical absurdities: “I refuse to live in a topsy-turvy world. I want to know where I stand, and to stand secure” (51). Cherea frankly says that Caligula’s death will be necessary. Caligula produces the tablet of evidence against Cherea, but instead of having the nobleman arrested, he burns the evidence in front of Cherea and lets him go.
The idea of an assassination plot—which had been suggested but put aside in Act II—takes on central importance. Caligula’s blasphemous playacting pushes his audience to new levels of revulsion. After, other characters challenge him to consider the ramifications of his actions.
Caligula is intent upon exercising his freedom, even if it means that he will eventually lose his life. Rather than be subject to others’ judgments and warnings, he is determined to dictate the terms of each interaction. As such, he rebuffs each attempt to check his behavior or to warn him, and instead does precisely the opposite of what his interlocutors want. This seems to highlight Caligula’s freedom. However, as Caligula realizes when speaking to himself in the mirror, the exercise of freedom is backing him into a corner. His actions are leading not to more choices, but to less.
The theme of death arises once again. It becomes clearer that Caligula is not only aware of his impending death but is choosing it. He realizes that following his principles to their logical end will result in his demise but feels that he must pursue his course: “I’m the only man on earth to know the secret—that power can never be complete without a total self-surrender to the dark impulse of one’s destiny. No, there’s no return. I must go on and on, until the consummation” (50).
Act III alludes to the play’s symbols and motifs—a performance, the moon, and again, a mirror. The act opens with Caligula’s performance of Venus. As we come to find out in his dialogue with Scipio, his performance is not meant to accurately reflect his own religious ideas or perspectives, but rather mock the illogical pieties by which other people live.
Caligula again references the moon. This ties in, but only briefly, with Caligula’s principle of pursuing the impossible. For most of his interaction with Helicon, he uses his fantasy of catching the moon to turn the conversation away from the warning of an assassination. Caligula even goes into a long retelling of an amorous encounter between himself and the moon, so clearly absurd that Helicon gives up his attempt to warn the emperor.
The mirror once again appears at an important turning point. Here, it gives readers a rare glimpse of Caligula in a moment of self-reflection. While Caligula cannot speak honestly to his interlocutors, the mirror brings him moments of clear-eyed frankness. It forces Caligula to recognize who he really is and what he is doing. Whereas his interactions with other characters show him pulling the strings, using his power and freedom to control the conversation, the mirror shows him as disempowered, forced to follow the path he has chosen, with no way out.
By Albert Camus
Dramatic Plays
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Existentialism
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Fate
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French Literature
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Good & Evil
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Loyalty & Betrayal
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Order & Chaos
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Philosophy, Logic, & Ethics
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Popular Study Guides
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Revenge
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Safety & Danger
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