moment, self conscious of little that is absolute but his compulsion to record the accretion of impression and reflection. Musil's Ulrich drifts from cause to cause, finally concluding that no cause has particular meaning. Malraux's Garine develops a veneer of cynical political sophistication and acts in a way that preserves it and gives the lie to the attraction of authentic political commitment. The "real" characters in Pirandello's play are as bound to repetition of experience as are the "fictional" ones. Mann's Hans Castrop positively resists reintegration into the outside world, which in any case overtakes his idea of sheltered existence at the sanitarium. Kafka's burrow builder builds and shelters himself the more furiously as he anticipates an encounter with another. In their experience of anguish, fearfulness, the void, these characters illustrate Camus's description of Is insight or self protection the most that modern man can hope for? Is there evidence
4. Kierkegaard's response to the "sickness unto death" impli
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