When Le Malentendu was first produced at the Théâtre des Mathurins in 1944, it was not a complete success, but neither was it a complete failure. (p. 33)
The play has primarily been treated by critics in the most obvious way: that is, as a symbolic representation of certain of Camus's philosophical ideas. The more or less allegorical nature of Le Malentendu has been frequently discussed. However, the problem of the expression of these ideas has often been neglected. This is an unfortunate situation because the play is essentially a work of art. The metaphysical ideas contained in it have been fully discussed in a much more direct manner in the author's essays. Any examination of these ideas would naturally be more appropriate in a criticism of these essays; and consequently, the treatment of this play, along with any of his other plays or novels, should deal primarily with the problem of artistic expression.
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