Clearly, the play is a mirror-image of that time's impression of existentialism, and this is why it focuses upon both oneself and the other, as well as issues surrounding human existence, such as morality and responsibility. However, the other themes in the play that are a product of the time are also important. These include the fact that women could not have affairs without consequences, as divorce was frowned upon. This statement alone begs the questions of religion quite forwardly. Furthermore, the fact that Garcin is a coward who is executed for leaving the War (World War Two) is also important, as that would have been a common occurrence at the time and also deals with the question of responsibility. These themes, whether existential or otherwise, are very important facets that can be seen throughout this and other plays by the author. Conclusions

The last section of this paper will aim to give a clear analysis of the strengths and weaknesses of the play, as well as include concluding thoughts. The strength of this play is, again, its ability to evoke various emotions, as well as quell them and, finally, its ability to lead the reader towards a path of different thinking. Sartre's though process of introducing a familiar subject in an unfamiliar way is a great way of grabbing the reader or the listener's attention, and this is one of the most impressive strengths of this play. Yet its subject, and the intricacies therein are also fantastic. The few quotations that express these thoughts, one of which has been rendered above, also include:

"ESTELLE: And you, Mr. Garcin?

GARCIN: Twelve bullets through my chest. [ESTELLE makes a horrified gesture.] Sorry! I fear I'm not goo dcompany among the dead.

ESTELLE: Please, please don't use that word. it's so -- so crude. In terribly bad taste, really. It doesn't mean much, anyhow […] I suggest we call ourselves --...

We're in hell, my pets' they never make mistakes, and people aren't damned for nothing.
ESTELLE: Stop! For heaven's sake

INEZ: In hell! Damned souls -- that's us, all three!

ESTELLE: Keep quiet! I forbid you to use such disgusting words.

INEZ: A damned soul -- that's you, my little plaster saint. And ditto our friend there, the noble pacifist. We've had our hour of pleasure, haven't we? There have been people who burned their lives out for our sakes -- and we chuckled over it. So now we have to pay the reckoning."

There are, of course, also weaknesses in the play. The confusing elements often have to do with the time frame in which it was written. For instance, it is difficult for a reader in the 21st century to understand that people were actually condemned to death without a trial for cowardice during World War Two. Also, the seemingly easy way in which every character 'sees' through the others (i.e. knows the story of the others' lives), is confusing in that it begs the question of whether these people have, in fact, met previously.

Despite these very few weaknesses, as aforementioned, the play is successful in its goals. Sartre is a great writer who expresses his ideas well. In the end, the reader is thus left very satisfied. The statement made in the introduction, relating to the fact that the play transcends the meaningless timeframes of human life and posits a human environment beyond death thus rings ever true despite the heavy use of disturbing imagery and confusing thought patterns. Though the existentialist thinking of the author penetrates even the most obscure of the characters' thoughts, his themes of human morality, responsibility and his commentary on society in general lead the reader through a maze of though-provoking, novel concepts.