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In contrast, Turin is not an Absurd Hero if his death is indeed suicide, implying despair and a rejection of his own self-preservation instincts (in which case, he is Byronic).
The Absurd Hero does not commit suicide because suicide is the action of the victimized and of the guilty: "[K]illing yourself amounts to confessing.
The proposition is established: if Turin's death is suicide, he is a Byronic Hero; if his death is not suicide, he is an Absurd Hero. The clearest distinction between the two in the context of The Children of Hurin is the difference of the conditions in which the hero's life comes to an end.
The Absurd Hero is one who recognizes the bleakness and hopelessness of the world, but embraces it, not only to spite it, but blankly because there is nothing else he can do; "suicide" is unthinkable and implausible.
Marvin is no absurd hero, and the reader cannot imagine Marvin happy.
For the purpose of the argument, characters who are conscious of their own absurd struggle and who face the superfluity of existence with defiance are referred to as absurd heroes. Conversely, characters who resort to existential despondency when confronted with their own absurd struggle are referred to as nihilist nemeses, the shadows or dark opposites of absurd heroism.
Adam's absurd heroes are characters who, as Camus (1975:64) suggests, "[live] out [their] adventure[s] within the span of [their] lifetime[s]".
The existential choices made by Adams's absurd heroes and their shadows/nihilist nemeses
In every piece of the Sugar Mecklin cycle at least one member of the Mecklin family becomes or ceases to be an absurd hero; in this respect Nordan tells the same story over and over.
Although it stays unclear what caused the miracle, the grandfather's open and seeing eyes that acknowledge the absurd world suggest the late birth of another absurd hero in the Mecklin family.
The ability to see comedy in tragic events elevates the protagonists of such literature to absurd heroes. Third, to emphasize the omnipresence of absurdity, deliberate incongruities and fantastic elements, including characters' metamorphoses or identity changes, invade stories that otherwise take place in realistic settings.
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