Since certain people have a difficulty in realizing what is going on at this moment as regards the issue of penalizing the negation of the genocides recognized by France, we thought that Albert Camus’ play entitled The Misunderstanding could constitute a valuable help to this realization. To this aim it would be enough to change the names of the characters to clarify things and avoid, if we dare to say, the misunderstandings. Thus, Martha’s character corresponds to the executioner, Maria’s one to the survivor, the mother’s one to the collaborator, Jan’s to the victim and the old man’s servant to the indifferent. In this new framework the absurd receives a meaning which is neither outdated nor obsolete, but rather timely. Of course, many of us do not know the play well enough to recall the lines of the characters; thus, we have thought that some of them should be reminded. They follow the sequence of the play.

The collaborator: “I know by experience that you’d rather not look at them. It’s easier to kill someone you don’t know”. Act I, Scene 1.

The executioner: “A crime is a crime; you have to know what you want”. Act I, Scene 1.

The victim: “My memory isn’t right. They received me without any word. They were looking at me, they weren’t seeing me”. Act I, Scene 1.

The survivor: “I want to stay. I’ll be silent and I’ll be waiting beside you until they recognize you”. Act I, Scene 1.

We could add many lines to this demonstration, because Albert Camus’ text is very powerful and stigmatizes minds. The problem of the misunderstanding is fundamental but as an element of the absurd, while it is quiet often used as an excuse.

The executioner: “If you want to know, there is a misunderstanding. And if only you knew the world, you wouldn’t be surprised by it”. Act III, Scene 3.

For, the problem is here exactly; if indifference and oblivion manage to delete the memory of genocides, won’t their supporters tell us afterwards that it was simply a misunderstanding and that they did not realize what they were doing?

The survivor: “Truth is that I barely had time to suffer or revolt. My unhappiness is stronger than me” Act III, Scene 3.

Aren’t these then the words to hear on the part of survivors who wouldn’t have truly struggled in this national conflict?
For, if this was the case, they shouldn’t forget the end of Albert Camus’ theatrical play. (Act III, Scene 4).

The indifferent with a loud and steady voice
Did you call me?

The survivor turning towards him
Oh! I don’t know! But help me, because I need help. Have pity on me and agree to help me!

The indifferent with the same voice
No!

CURTAIN

Quod erat demonstrandum.