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Albert Camus provides his personal toolbox of fictional products when it comes to accentuating the theme of The Unknown person, one of them being his unique sense and usage of secondary characters. Whether minor or major, every character in a purpose is served by the book, and corroborates the theme in some kind of fashion. Camus identifies his supplementary character types as foiling Meursault in one element or another, and hence, glowing light on Meursault’s features. Whether through close contacts like familial human relationships (Maman) and relationships (Salamano, Raymond, and Marie), or through a genuine simply because isolated as people he quickly converses with (Chaplain), or actually therefore very much as comprehensive strangers (Perez and unknown woman at the cafe), people that Meursault meets foil and consequently, highlight many factors of his character. Furthermore, because Meursault embodies Camus’t ideology of Absurdism aptly, putting an emphasis on Meursault through supplementary features just shows Camus’ doctrine and theme of the reserve. Meursault’s Maman, when launched to the audience, has passed away already; however, her past relationships that disclose themselves when Meursault attends the funeral directly contrast her son’s emotional receptivity, or lack thereof. During Maman’s funeral service, a girl “in the second line...released a little choking sob” (8). The keeper consequently reduces Meursault of his disappointment by detailing to him that “she was dedicated to [his] mother” and that they had been close close friends (8). Along with camaraderie, Maman also sees love during her last few times with her romantic relationship with Thomas Perez at the house, where “[he] and [maman] [are] nearly inseparable” and “people [would] tease Perez about having a fiance” (10). Maman’s attempt to type para...