Discover the profound wisdom of Albert Camus through his most famous quotes. Explore his thoughts on happiness, normalcy, ignorance, rebellion, and more. Dive into a world of thought-provoking ideas in less than 200 characters.
Albert Camus was a French philosopher, author, and political activist who won the Nobel Prize in Literature in 1957. Born in Algeria, he grew up in a poor neighborhood and studied philosophy at the University of Algiers. During World War II, he joined the French Resistance and served as editor-in-chief at an outlawed newspaper. After the war, Camus became a renowned figure, giving lectures worldwide. He married twice but engaged in numerous extramarital affairs. With strong political beliefs, he opposed totalitarianism and was part of organizations promoting European integration. In terms of his philosophy, Camus's work influenced absurdism and some consider him an existentialist, although he rejected this label.
Camus's notable works include "The Stranger," "The Plague," "The Myth of Sisyphus," "The Fall," and "The Rebel." Despite being politically active, he maintained a neutral stance during the Algerian War and advocated for a multicultural and pluralistic Algeria, which was met with opposition from various parties. Ultimately, Albert Camus left a significant impact on literature and philosophy through his thought-provoking writings and distinct moral standpoint.
“Nobody realizes that some people expend tremendous energy merely to be normal.”
This quotation is from Notebook IV in Notebooks: 1942-1951, not Myth of Sisyphus. The quotation appears in none of Camus books you find in bookstores
The Myth of Sisyphus (1942), An Absurd Reasoning
The Plague (1947)
Context: The evil that is in the world always comes of ignorance, and good intentions may do as much harm as malevolence, if they lack understanding. On the whole men are more good than bad; that, however, isn't the real point. But they are more or less ignorant, and it is this that we call vice or virtue; the most incorrigible vice being that of an ignorance which fancies it knows everything and therefore claims for itself the right to kill. There can be no true goodness, nor true love, without the utmost clear-sightedness.
Source: "Intuitions" (October 1932), published in Youthful Writings (1976)
“Always go too far, because that's where you'll find the truth.”
Please read this article for more information: Did Camus ever say “Always go too far, because that's where you'll find the truth”? | Literature Stack Exchange https://literature.stackexchange.com/q/16662/1015
Misattributed
“I think my life is of great importance, but I also think it is meaningless.”
Attributed to Camus on social media, this sentence was taken from the Wikipedia article on Camus: "In Le Mythe, dualism becomes a paradox: we value our own lives in spite of our mortality and in spite of the universe's silence. While we can live with a dualism (I can accept periods of unhappiness, because I know I will also experience happiness to come), we cannot live with the paradox (I think my life is of great importance, but I also think it is meaningless)." Retrieved 16 July 2015, from https://en.wikipedia.org/wiki/Albert_Camus#Ideas_on_the_absurd
Misattributed
"Summer in Algiers" http://books.google.com/books?id=N0bNUqDVKJgC&q=%22If+there+is+a+sin+against+life+it+consists+perhaps+not+so+much+in+despairing+of+life+as+in+hoping+for+another+life+and+in+eluding+the+implacable+grandeur+of+this+life%22&pg=PA153#v=onepage, The Myth of Sisyphus and Other Essays (1955)
Said at the Dominican Monastery of Latour-Maubourg (1948); reported in Resistance, Rebellion and Death (translation by Justin O'Brien, 1961), p. 73
“Artistic creation is a demand for unity and a rejection of the world.”
Part 4: Rebellion and Art
The Rebel (1951)
The Myth of Sisyphus (1942), Absurd Creation
The Myth of Sisyphus (1942), The Myth of Sisyphus
“The artist reconstructs the world to his plan.”
Part 4: Rebellion and Art
The Rebel (1951)
“Should I kill myself, or have a cup of coffee?”
There is no documented evidence that Camus ever wrote or said this, aside from Barry Schwartz's uncited mention in The Paradox of Choice. It is likely falsely attributed.
Disputed
The Myth of Sisyphus (1942), An Absurd Reasoning, p. 170
Source: The Rebel (1951), pp. 8 - 10 as quoted in Albert Camus and the Philosophy of the Absurd';(2002) by Avi Sagi, p. 44
Context: The absurd … is an experience to be lived through, a point of departure, the equivalent, in existence of Descartes' methodical doubt. Absurdism, like methodical doubt, has wiped the slate clean. It leaves us in a blind alley. But, like methodical doubt, it can, by returning upon itself, open up a new field of investigation, and in the process of reasoning then pursues the same course. I proclaim that I believe in nothing and that everything is absurd, but I cannot doubt the validity of my proclamation and I must at least believe in my protest. The first and only evidence that is supplied me, within the terms of the absurdist experience, is rebellion … Rebellion is born of the spectacle of irrationality, confronted with an unjust and incomprehensible condition.
“Ironic philosophies produce passionate works.”
The Myth of Sisyphus (1942), Absurd Creation
Context: Ironic philosophies produce passionate works.
Any thought that abandons unity glorifies diversity! And diversity is the home of art. The only thought to liberate the mind is that which leaves it alone, certain of its limits and of its impending end. No doctrine tempts it. It awaits the ripening of the work and of life. <!-- 116
“Only it takes time to be happy. A lot of time. Happiness, too, is a long patience.”
Seulement, il faut du temps pour être heureux. Beaucoup de temps. Le bonheur lui aussi est une longue patience.
A Happy Death (1971)
Return to Tipasa (1954)
Variant translation: In the depths of winter, I finally learned that within me there lay an invincible summer.
As translated in Lyrical and Critical Essays (1968), p. 169; also in The Unquiet Vision : Mirrors of Man in Existentialism (1969) by Nathan A. Scott, p. 116
The Rebel (1951)
“...there are more things to admire in men than to despise.”
The Plague (1947)
The Rebel (1951)
Context: One might think that a period which, in a space of fifty years, uproots, enslaves, or kills seventy million human beings should be condemned out of hand. But its culpability must still be understood... In more ingenuous times, when the tyrant razed cities for his own greater glory, when the slave chained to the conqueror's chariot was dragged through the rejoicing streets, when enemies were thrown to the wild beasts in front of the assembled people, the mind did not reel before such unabashed crimes, and the judgment remained unclouded. But slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman, in one sense cripple judgment. On the day when crime dons the apparel of innocence — through a curious transposition peculiar to our times — it is innocence that is called upon to justify itself.
Between Hell and Reason (1945)
Context: The world is what it is, which is to say, nothing much. This is what everyone learned yesterday, thanks to the formidable concert of opinion coming from radios, newspapers, and information agencies. Indeed we are told, in the midst of hundreds of enthusiastic commentaries, that any average city can be wiped out by a bomb the size of a football. American, English, and French newspapers are filled with eloquent essays on the future, the past, the inventors, the cost, the peaceful incentives, the military advantages, and even the life-of-its-own character of the atom bomb.
We can sum it up in one sentence: Our technical civilization has just reached its greatest level of savagery. We will have to choose, in the more or less near future, between collective suicide and the intelligent use of our scientific conquests.
Meanwhile we think there is something indecent in celebrating a discovery whose use has caused the most formidable rage of destruction ever known to man. What will it bring to a world already given over to all the convulsions of violence, incapable of any control, indifferent to justice and the simple happiness of men — a world where science devotes itself to organized murder? No one but the most unrelenting idealists would dare to wonder.
Variant translation: I, too, felt ready to start life all over again. It was as if that great rush of anger had washed me clean, emptied me of hope, and, gazing up at the dark sky spangled with its signs and stars, for the first time, the first, I laid my heart open to the benign indifference of the universe. To feel it so like myself, indeed, so brotherly, made me realize that I’d been happy, and that I was happy still. For all to be accomplished, for me to feel less lonely, all that remained to hope was that on the day of my execution there should be a huge crowd of spectators and that they should greet me with howls of execration.
As translated by Stuart Gilbert
The Stranger (1942)
Context: For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a 'fiancé,' why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. As if the blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself — so like a brother, really — I felt I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate.
“Everybody was privileged. There were only privileged people.”
The Stranger (1942)
Context: I don't know why, but something inside me snapped. I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I grabbed him by the collar of his cassock. I was pouring out on him everything that was in my heart, cries of anger and cries of joy.
He seemed so certain about everything, didn't he? And yet none of his certainties was worth one hair of a woman's head. He wasn't even sure he was alive, because he was living like a dead man. Whereas it looked as if I was the one who'd come up emptyhanded. But I was sure about me, about everything, surer than he could ever be, sure of my life and sure of the death I had waiting for me. Yes, that was all I had. But at least I had as much of a hold on it as it had on me. I had been right, I was still right, I was always right. I had lived my life one way and I could just as well have lived it another. I had done this and I hadn't done that. I hadn't done this thing but I had done another. And so? It was as if I had waited all this time for this moment and for the first light of this dawn to be vindicated. Nothing, nothing mattered, and I knew why. So did he. Throughout the whole absurd life I'd lived, a dark wind had been rising toward me from somewhere deep in my future, across years that were still to come, and as it passed, this wind leveled whatever was offered to me at the time, in years no more real than the ones I was living. What did other people's deaths or a mother's love matter to me; what did his God or the lives people choose or the fate they think they elect matter to me when we're all elected by the same fate, me and billions of privileged people like him who also called themselves my brothers? Couldn't he see, couldn't he see that? Everybody was privileged. There were only privileged people. The others would all be condemned one day. And he would be condemned, too. <!-- translated by Matthew Ward
“Myths are made for the imagination to breathe life into them.”
The Myth of Sisyphus (1942), The Myth of Sisyphus
Context: 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. This is the price that must be paid for the passions of this earth. Nothing is told us about Sisyphus in the underworld. Myths are made for the imagination to breathe life into them.
Between Hell and Reason (1945)
Context: Let us be understood. If the Japanese surrender after the destruction of Hiroshima, having been intimidated, we will rejoice. But we refuse to see anything in such grave news other than the need to argue more energetically in favor of a true international society, in which the great powers will not have superior rights over small and middle-sized nations, where such an ultimate weapon will be controlled by human intelligence rather than by the appetites and doctrines of various states.
Before the terrifying prospects now available to humanity, we see even more clearly that peace is the only goal worth struggling for. This is no longer a prayer but a demand to be made by all peoples to their governments — a demand to choose definitively between hell and reason.
The Myth of Sisyphus (1942), An Absurd Reasoning
Context: I don’t know whether this world has a meaning that transcends it. But I know that I cannot know that meaning and that it is impossible for me just now to know it. What can a meaning outside my condition mean to me? I can understand only in human terms. What I touch, what resists me — that I understand. And these two certainties — my appetite for the absolute and for unity and the impossibility of reducing this world to a rational and reasonable principle — I also know that I cannot reconcile them. What other truth can I admit without lying, without bringing in a hope I lack and which means nothing within the limits of my conditions? <!-- 175
The Myth of Sisyphus (1942), Absurd Creation
Context: A profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Likewise, a man's sole creation is strengthened in its successive and multiple aspects: his works. One after another they complement one another, correct or overtake one another, contradict one another, too. If something brings creation to an end, it is not the victorious and illusory cry of the blinded artist: "I have said everything," but the death of the creator which closes his experiences and the book of his genius.
That effort, that superhuman consciousness are not necessarily apparent to the reader. There is no mystery in human creation. Will performs this miracle. But at least there is no true creation without a secret. To be true, a succession of works can be but a series of approximations of the same thought. But it is possible to conceive of another type of creator proceeding by juxtaposition. Their words may seem to be devoid of inter-relations, to a certain degree, they are contradictory. But viewed all together, they resume their natural grouping.
“Great feelings take with them their own universe, splendid or abject.”
The Myth of Sisyphus (1942), An Absurd Reasoning
Context: Great feelings take with them their own universe, splendid or abject. They light up with their passion an exclusive world in which they recognize their climate. There is a universe of jealousy, of ambition, of selfishness or generosity. A universe — in other words a metaphysic and an attitude of mind.
“The Grand Inquisitor is old and tired, for the knowledge he possesses is bitter.”
Part 2: Metaphysical Rebellion
The Rebel (1951)
Context: Alyosha can, in fact, treat Ivan with compassion as a "real simpleton." The latter only made aa attempt at self-control and failed. Others will appear, with more serious intentions, who, on the basis of the same despairing nihilism, will insist on ruling the world. These are the Grand Inquisitors who imprison Christ and come to tell Him that His method is not correct, that universal happiness cannot be achieved by the immediate freedom of choosing between good and evil, but by the domination and unification of the world. The first step is to conquer and rule. The kingdom of heaven will, in fact, appear on earth, but it will be ruled over by men — a mere handful to begin with, who will be the Cassars, because they were the first to understand — and later, with time, by all men. The unity of all creation will be achieved by every possible means, since everything is permitted. The Grand Inquisitor is old and tired, for the knowledge he possesses is bitter. He knows that men are lazy rather than cowardly and that they prefer peace and death to the liberty of discerning between good and evil. He has pity, a cold pity, for the silent prisoner whom history endlessly deceives. He urges him to speak, to recognize his misdeeds, and, in one sense, to approve the actions of the Inquisitors and of the Caesars. But the prisoner does not speak.
The Myth of Sisyphus (1942), The Absurd Man
Context: All systems of morality are based on the idea that an action has consequences that legitimize or cancel it. A mind imbued with the absurd merely judges that those consequences must be considered calmly. It is ready to pay up. In other words, there may be responsible persons, but there are no guilty ones, in its opinion. At very most, such a mind will consent to use past experience as a basis for its future actions.
“I start out here from the principle of his innocence.
That innocence is to be feared.”
The Myth of Sisyphus (1942), The Absurd Man
Context: There can be no question of holding forth on ethics. I have seen people behave badly with great morality and I note every day that integrity has no need of rules. There is but one moral code that the absurd man can accept, the one that is not separated from God: the one that is dictated. But it so happens that he lives outside that God. As for the others (I mean also immoralism), the absurd man sees nothing in them but justifications and he has nothing to justify. I start out here from the principle of his innocence.
That innocence is to be feared. "Everything is permitted," exclaims Ivan Karamazov. That, too, smacks of the absurd. But on condition that it not be taken in a vulgar sense. I don't know whether or not it has been sufficiently pointed out that it is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact.
“And then there are people who prefer to look their fate in the eye.”
"Entre oui et non" in L'Envers et l'endroit (1937), translated as "Between Yes and No", in World Review magazine (March 1950), also quoted in The Artist and Political Vision (1982) by Benjamin R. Barber and Michael J. Gargas McGrath
Context: Don't let them tell us stories. Don't let them say of the man sentenced to death "He is going to pay his debt to society," but: "They are going to cut off his head." It looks like nothing. But it does make a little difference. And then there are people who prefer to look their fate in the eye.
The Stranger (1942)
Context: I don't know why, but something inside me snapped. I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I grabbed him by the collar of his cassock. I was pouring out on him everything that was in my heart, cries of anger and cries of joy.
He seemed so certain about everything, didn't he? And yet none of his certainties was worth one hair of a woman's head. He wasn't even sure he was alive, because he was living like a dead man. Whereas it looked as if I was the one who'd come up emptyhanded. But I was sure about me, about everything, surer than he could ever be, sure of my life and sure of the death I had waiting for me. Yes, that was all I had. But at least I had as much of a hold on it as it had on me. I had been right, I was still right, I was always right. I had lived my life one way and I could just as well have lived it another. I had done this and I hadn't done that. I hadn't done this thing but I had done another. And so? It was as if I had waited all this time for this moment and for the first light of this dawn to be vindicated. Nothing, nothing mattered, and I knew why. So did he. Throughout the whole absurd life I'd lived, a dark wind had been rising toward me from somewhere deep in my future, across years that were still to come, and as it passed, this wind leveled whatever was offered to me at the time, in years no more real than the ones I was living. What did other people's deaths or a mother's love matter to me; what did his God or the lives people choose or the fate they think they elect matter to me when we're all elected by the same fate, me and billions of privileged people like him who also called themselves my brothers? Couldn't he see, couldn't he see that? Everybody was privileged. There were only privileged people. The others would all be condemned one day. And he would be condemned, too. <!-- translated by Matthew Ward
“Don't let them tell us stories.”
"Entre oui et non" in L'Envers et l'endroit (1937), translated as "Between Yes and No", in World Review magazine (March 1950), also quoted in The Artist and Political Vision (1982) by Benjamin R. Barber and Michael J. Gargas McGrath
Context: Don't let them tell us stories. Don't let them say of the man sentenced to death "He is going to pay his debt to society," but: "They are going to cut off his head." It looks like nothing. But it does make a little difference. And then there are people who prefer to look their fate in the eye.
Between Hell and Reason (1945)
Context: Even before the bomb, one did not breathe too easily in this tortured world. Now we are given a new source of anguish; it has all the promise of being our greatest anguish ever. There can be no doubt that humanity is being offered its last chance. Perhaps this is an occasion for the newspapers to print a special edition. More likely, it should be cause for a certain amount of reflection and a great deal of silence.
“To be true, a succession of works can be but a series of approximations of the same thought.”
The Myth of Sisyphus (1942), Absurd Creation
Context: A profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Likewise, a man's sole creation is strengthened in its successive and multiple aspects: his works. One after another they complement one another, correct or overtake one another, contradict one another, too. If something brings creation to an end, it is not the victorious and illusory cry of the blinded artist: "I have said everything," but the death of the creator which closes his experiences and the book of his genius.
That effort, that superhuman consciousness are not necessarily apparent to the reader. There is no mystery in human creation. Will performs this miracle. But at least there is no true creation without a secret. To be true, a succession of works can be but a series of approximations of the same thought. But it is possible to conceive of another type of creator proceeding by juxtaposition. Their words may seem to be devoid of inter-relations, to a certain degree, they are contradictory. But viewed all together, they resume their natural grouping.
The Rebel (1951)
Context: One might think that a period which, in a space of fifty years, uproots, enslaves, or kills seventy million human beings should be condemned out of hand. But its culpability must still be understood... In more ingenuous times, when the tyrant razed cities for his own greater glory, when the slave chained to the conqueror's chariot was dragged through the rejoicing streets, when enemies were thrown to the wild beasts in front of the assembled people, the mind did not reel before such unabashed crimes, and the judgment remained unclouded. But slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman, in one sense cripple judgment. On the day when crime dons the apparel of innocence — through a curious transposition peculiar to our times — it is innocence that is called upon to justify itself.
The Myth of Sisyphus (1942), An Absurd Reasoning
Context: At this point of his effort man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world. This must not be forgotten. This must be clung to because the whole consequence of a life can depend on it. The irrational, the human nostalgia, and the absurd that is born of their encounter — these are the three characters in the drama that must necessarily end with all the logic of which an existence is capable.
Part 2: Metaphysical Rebellion
The Rebel (1951)
Context: Alyosha can, in fact, treat Ivan with compassion as a "real simpleton." The latter only made aa attempt at self-control and failed. Others will appear, with more serious intentions, who, on the basis of the same despairing nihilism, will insist on ruling the world. These are the Grand Inquisitors who imprison Christ and come to tell Him that His method is not correct, that universal happiness cannot be achieved by the immediate freedom of choosing between good and evil, but by the domination and unification of the world. The first step is to conquer and rule. The kingdom of heaven will, in fact, appear on earth, but it will be ruled over by men — a mere handful to begin with, who will be the Cassars, because they were the first to understand — and later, with time, by all men. The unity of all creation will be achieved by every possible means, since everything is permitted. The Grand Inquisitor is old and tired, for the knowledge he possesses is bitter. He knows that men are lazy rather than cowardly and that they prefer peace and death to the liberty of discerning between good and evil. He has pity, a cold pity, for the silent prisoner whom history endlessly deceives. He urges him to speak, to recognize his misdeeds, and, in one sense, to approve the actions of the Inquisitors and of the Caesars. But the prisoner does not speak.
The Blood of the Hungarians (1957)
Context: Hungary conquered and in chains has done more for freedom and justice than any people for twenty years. But for this lesson to get through and convince those in the West who shut their eyes and ears, it was necessary, and it can be no comfort to us, for the people of Hungary to shed so much blood which is already drying in our memories. In Europe's isolation today, we have only one way of being true to Hungary, and that is never to betray, among ourselves and everywhere, what the Hungarian heroes died for, never to condone, among ourselves and everywhere, even indirectly, those who killed them. It would indeed be difficult for us to be worthy of such sacrifices.
The Rebel (1951)
Context: If Nietzsche and Hegel serve as alibis to the masters of Dachau and Karaganda, that does not condemn their entire philosophy. But it does lead to the suspicion that one aspect of their thought, or of their logic, can lead to these appalling conclusions.
“There is no fate that can not be surmounted by scorn.”
The Myth of Sisyphus (1942), The Myth of Sisyphus
Context: There is no fate that can not be surmounted by scorn.
If the descent is thus sometimes performed in sorrow, it can also take place in joy. This word is not too much. Again I fancy Sisyphus returning toward his rock, and the sorrow was in the beginning.
“A novel is never anything but a philosophy put into images.”
Review of Nausea by Jean-Paul Sartre, published in the newspaper Alger Républicain (20 October 1938), p. 5; reprinted in Selected Essays and Notebooks, translated and edited by Philip Thody
Context: A novel is never anything but a philosophy put into images. And in a good novel, the whole of the philosophy has passed into the images. But if once the philosophy overflows the characters and action, and therefore looks like a label stuck on the work, the plot loses its authenticity and the novel its life. Nevertheless, a work that is to last cannot dispense with profound ideas. And this secret fusion between experiences and ideas, between life and reflection on the meaning of life, is what makes the great novelist.
“Man cannot do without beauty, and this is what our era pretends to want to disregard.”
"Helen's Exile" (1948)
Context: Man cannot do without beauty, and this is what our era pretends to want to disregard. It steels itself to attain the absolute and authority; it wants to transfigure the world before having exhausted it, to set it to rights before having understood it. Whatever it may say, our era is deserting this world.
“We turn our backs on nature; we are ashamed of beauty.”
"Helen's Exile" (1948)
Context: We turn our backs on nature; we are ashamed of beauty. Our wretched tragedies have a smell of the office clinging to them, and the blood that trickles from them is the color of printer's ink.
The Myth of Sisyphus (1942), An Absurd Reasoning
Context: If I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. <!-- 159
The Myth of Sisyphus and other essays by Albert Camus, An Absurd Reasoning : Absurdity and Suicide p. 3 (1942, 1955)
Absurdity and Suicide
The Myth of Sisyphus (1942), An Absurd Reasoning
Context: There is but one truly serious philosophical problem and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest – whether or not the world has three dimensions, whether the mind has nine or twelve categories – comes afterwards. These are games; one must first answer. And if it is true, as Nietzsche claims, that a philosopher, to deserve our respect, must preach by example, you can appreciate the importance of that reply, for it will precede the definitive act. These are facts the heart can feel; yet they call for careful study before they become clear to the intellect. If I ask myself how to judge that this question is more urgent than that, I reply that one judges by the actions it entails. I have never seen anyone die for the ontological argument.
The Myth of Sisyphus (1942), The Myth of Sisyphus
Context: 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. This is the price that must be paid for the passions of this earth. Nothing is told us about Sisyphus in the underworld. Myths are made for the imagination to breathe life into them.
The Myth of Sisyphus (1942), Absurd Creation
Context: In that daily effort in which intelligence and passion mingle and delight each other, the absurd man discovers a discipline that will make up the greatest of his strengths. The required diligence and doggedness and lucidity thus resemble the conqueror's attitude. To create is likewise to give a shape to one's fate. For all these characters, their work defines them at least as much as it is defined by them. The actor taught us this: There is no frontier between being and appearing.
“But aspects cannot be added up.”
The Myth of Sisyphus (1942), An Absurd Reasoning
Context: If I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. <!-- 159
“It happens as well that the feeling of the absurd springs from happiness.”
The Myth of Sisyphus (1942), The Myth of Sisyphus
Context: One does not discover the absurd without being tempted to write a manual of happiness. "What! — by such narrow ways —?" There is but one world, however. Happiness and the absurd are two sons of the same earth. They are inseparable. It would be a mistake to say that happiness necessarily springs from the absurd discovery. It happens as well that the feeling of the absurd springs from happiness.
“Happiness and the absurd are two sons of the same earth. They are inseparable.”
The Myth of Sisyphus (1942), The Myth of Sisyphus
Context: One does not discover the absurd without being tempted to write a manual of happiness. "What! — by such narrow ways —?" There is but one world, however. Happiness and the absurd are two sons of the same earth. They are inseparable. It would be a mistake to say that happiness necessarily springs from the absurd discovery. It happens as well that the feeling of the absurd springs from happiness.
“Absurdism, like methodical doubt, has wiped the slate clean.”
Source: The Rebel (1951), pp. 8 - 10 as quoted in Albert Camus and the Philosophy of the Absurd';(2002) by Avi Sagi, p. 44
Context: The absurd … is an experience to be lived through, a point of departure, the equivalent, in existence of Descartes' methodical doubt. Absurdism, like methodical doubt, has wiped the slate clean. It leaves us in a blind alley. But, like methodical doubt, it can, by returning upon itself, open up a new field of investigation, and in the process of reasoning then pursues the same course. I proclaim that I believe in nothing and that everything is absurd, but I cannot doubt the validity of my proclamation and I must at least believe in my protest. The first and only evidence that is supplied me, within the terms of the absurdist experience, is rebellion … Rebellion is born of the spectacle of irrationality, confronted with an unjust and incomprehensible condition.
The Myth of Sisyphus (1942), The Absurd Man
Context: Time will prolong time, and life will serve life. In this field that is both limited and bulging with possibilities, everything to himself, except his lucidity, seems unforeseeable to him. What rule, then, could emanate from that unreasonable order? The only truth that might seem instructive to him is not formal: it comes to life and unfolds in men. The absurd mind cannot so much expect ethical rules at the end of its reasoning as, rather, illustrations and the breath of human lives.
“Capital punishment is the most premeditated of murders”
Reflections on the Guillotine (1957)
Context: Capital punishment is the most premeditated of murders, to which no criminal’s deed, however calculated, can be compared. For there to be an equivalency, the death penalty would have to punish a criminal who had warned his victim of the date on which he would inflict a horrible death on him and who, from that moment onward, had confined him at his mercy for months. Such a monster is not to be encountered in private life.
“There is merely bad luck in not being loved; there is misfortune in not loving.”
Summer (1954), Return to Tipasa
Context: There is merely bad luck in not being loved; there is misfortune in not loving. All of us, today, are dying of this misfortune. For violence and hatred dry up the heart itself; the long fight for justice exhausts the love that nevertheless gave birth to it.
The Myth of Sisyphus (1942), The Absurd Man
Context: There can be no question of holding forth on ethics. I have seen people behave badly with great morality and I note every day that integrity has no need of rules. There is but one moral code that the absurd man can accept, the one that is not separated from God: the one that is dictated. But it so happens that he lives outside that God. As for the others (I mean also immoralism), the absurd man sees nothing in them but justifications and he has nothing to justify. I start out here from the principle of his innocence.
That innocence is to be feared. "Everything is permitted," exclaims Ivan Karamazov. That, too, smacks of the absurd. But on condition that it not be taken in a vulgar sense. I don't know whether or not it has been sufficiently pointed out that it is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact.
