Meaning, if the world is indifferent, should we too be indifferent to a meaningful life or even life itself? 1 Try to ignore the fully-packed context of the word “suicide” in a mental health capacity Camus means it as a philosophical question. The answer, underlying and appearing through the paradoxes which cover it, is this: even if one does not believe in God, suicide is not legitimate. The fundamental subject of The Myth of Sisyphus is this: it is legitimate and necessary to wonder whether life has a meaning therefore it is legitimate to meet the problem of suicide face to face.
#CAMUS MYTH OF SISYPHUS SERIES#
He was a stylist of great purity and intense concentration and rationality.Ĭamus was awarded the Nobel Prize for Literature in 1959.Ĭamus died on 4 January 1960 at the age of 46, in a car accident near Sens, in Le Grand Fossard in the small town of Villeblevin.Albert Camus‘ (Novem– January 4, 1960) monumental philosophical work, The Myth of Sisyphus is a series of essays in which Camus makes sense of the human quest for order and meaning in an indifferent (and thus absurd) universe. His austere search for moral order found its aesthetic correlative in the classicism of his art. Other well-known works of Camus are La Chute (The Fall), 1956, and L'Exil et le royaume (Exile and the Kingdom), 1957. Without having the unreasonable ambition to save men, we still want to serve them". Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms Camus's words: "We refuse to despair of mankind. Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation. The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds Camus's notion of the absurd and of its acceptance with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction". His love for the theatre may be traced back to his membership in L'Equipe, an Algerian theatre group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons. He also adapted plays by Calderon, Lope de Vega, Dino Buzzati, and Faulkner's Requiem for a Nun. But his journalistic activities had been chiefly a response to the demands of the time in 1947 Camus retired from political journalism and, besides writing his fiction and essays, was very active in the theatre as producer and playwright (e.g., Caligula, 1944). The man and the times met: Camus joined the resistance movement during the occupation and after the liberation was a columnist for the newspaper Combat. Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest in philosophy (only chance prevented him from pursuing a university career in that field), he came to France at the age of twenty-five.
His origin in Algeria and his experiences there in the thirties were dominating influences in his thought and work. Albert Camus (1913-1960) was a representative of non-metropolitan French literature.
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