The Myth of Sisyphus (1942), An Absurd Reasoning
Context: What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity. <!-- 153
“Absurd is that which is devoid of purpose. . . . Cut from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless.”
Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context:  "Absurd" originally means "out of harmony," in a musical context. Hence its dictionary definition: "out of harmony with reason or propriety; incongruous, unreasonable, illogical." In common usage, "absurd" may simply mean "ridiculous," but this is not the sense in which Camus uses the word, and in which it is used when we speak of the Theatre of the Absurd. In an essay on Kafka, Ionesco defined his understanding of the term as follows: "Absurd is that which is devoid of purpose.... Cut from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless."
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Martin Esslin 11
Playwright, theatre critic, scholar 1918–2002Related quotes
No. 249 (15 December 1711).
The Spectator (1711–1714)
No. 562 (2 July 1714).
The Spectator (1711–1714)
Return from the Excursion, Riders on Earth (1978)
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.
Lecture 1A, 13:45
Mythology and the Individual (1997)
Context: The image of the cosmos must change with the development of the mind and knowledge; otherwise, the mythic statement is lost, and man becomes dissociated from the very basis of his own religious experience. Doubt comes in, and so forth. You must remember: all of the great traditions, and little traditions, in their own time were scientifically correct. That is to say, they were correct in terms of the scientific image of that age. So there must be a scientifically validated image. Now you know what has happened: our scientific field has separated itself from the religious field, or vice-versa. … This divorce this is a fatal thing, and a very unfortunate thing, and a totally unnecessary thing.
Interview with Divina Infusino in American Way (15 June 1995)
“A fanatic is a man who, when he's lost sight of his purpose, redoubles his effort.”
Source: Harvest of Stars