
“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.
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Albert Camus 209
French author and journalist 1913–1960Related quotes


“I feel happy — deep down. All is well.”
Entry in her journal (10 October 1922) which she tore out to send to John Middleton Murry, before changing her mind. This later became the last published entry in The Journal of Katherine Mansfield (1927) edited by J. Middleton Murry
Context: Warm, eager, living life — to be rooted in life — to learn, to desire to know, to feel, to think, to act. That is what I want. And nothing less. That is what I must try for. … This all sounds very strenuous and serious. But now that I have wrestled with it, it’s no longer so. I feel happy — deep down. All is well.

“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.
“It seemed to happen in springs, the revealing of things.”
Source: The Particular Sadness of Lemon Cake
1951; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory'
from his responding at the 1951 MoMA symposium, in which several artists were asked to respond to the prompt 'What Abstract Art Means to Me'
1950s