Abstract

In this paper, a number of lines of argument buttress and support the contention that Dirty Hands is a comparatively undervalued part of the Sartrean oeuvre. Using commentary from Bell and Pellauer, and employing categories relevant also to the work of Beauvoir and Camus, the paper comes to the conclusion that Hugo, as the central character of the play, is an exemplary Sartrean protagonist, and that the play is worthy of more attention than it has received. An important part of the central assertion is that the play is as critical a part of the Sartrean dramatic canon as The Flies and No Exit.