The Myth of Sisyphus (Vintage International)

Men, too, secrete the inhuman. At certain moments of lucidity, the mechanical aspect of their gestures, their meaningless pantomime makes silly everything that surrounds them. A man is talking on the telephone behind a glass partition; you cannot hear him, but you see his incomprehensible dumb show: you wonder why he is alive. This discomfort in th

(what is called a reason for living is also an excellent reason for dying).

Dying voluntarily implies that you have recognized, even instinctively, the ridiculous character of that habit, the absence of any profound reason for living, the insane character of that daily agitation, and the uselessness of suffering.

“In his failure,” says Kierkegaard, “the believer finds his triumph.”

This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.

You have already grasped that Sisyphus is the absurd hero. He is, as much through his passions as through his torture. His scorn of the gods, his hatred of death, and his passion for life won him that unspeakable penalty in which the whole being is exerted toward accomplishing nothing.

“It’s absurd” means “It’s impossible” but also “It’s contradictory.” If I see a man armed only with a sword attack a group of machine guns, I shall consider his act to be absurd. But it is so solely by virtue of the disproportion between his intention and the reality he will encounter, of the contradiction I notice between his true strength and the

There are many causes for a suicide, and generally the most obvious ones were not the most powerful. Rarely is suicide committed (yet the hypothesis is not excluded) through reflection. What sets off the crisis is almost always unverifiable. Newspapers often speak of “personal sorrows” or of “incurable illness.” These explanations are plausible. Bu

All Sisyphus’ silent joy is contained therein. His fate belongs to him. His rock is his thing.