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Camus has argued that the absurd hero sees life as a constant struggle, without hope. Any attempt to deny or avoid the struggle and the hopelessness that define our lives is an attempt to escape from this absurd contradiction. Camus's single requirement for the absurd man is that he live with full awareness of the absurdity of his position. While Sisyphus is pushing his rock up the mountain, there is nothing for him but toil and struggle. But in those moments where Sisyphus descends the mountain free from his burden, he is aware. He knows that he will struggle forever and he knows that this struggle will get him nowhere. This awareness is precisely the same awareness that an absurd man has in this life. So long as Sisyphus is aware, his fate is no different and no worse than our lot in life.
We react to Sisyphus's fate with horror because we see its futility and hopelessness. Of course, the central argument of this essay is that life itself is a futile struggle devoid of hope. However, Camus also suggests that this fate is only horrible if we continue to hope, if we think that there is something more that is worth aiming for. Our fate only seems horrible when we place it in contrast with something that would seem preferable. If we accept that there is no preferable alternative, then we can accept our fate without horror. Only then, Camus suggests, can we fully appreciate life, because we are accepting it without reservations. Therefore, Sisyphus is above his fate precisely because he has accepted it. His punishment is only horrible if he can hope or dream for something better. If he does not hope, the gods have nothing to punish him with.
The theory of tragedy is a vast and complicated subject beyond the scope of this commentary, but a brief discussion of Camus's angle on tragedy may be valuable. Camus tells us that the moment Sisyphus becomes aware of his fate, his fate becomes tragic. He also alludes to Oedipus, who becomes a tragic figure only when he becomes aware that he has killed his father and married his mother. He also remarks that both Sisyphus and Oedipus are ultimately happy, that they "conclude that all is well." Tragedy, Camus seems to be suggesting, is not pessimistic. On the contrary, it represents the greatest triumph we are capable of as human beings.
The Allegory of the Cave, and The Myth of Sisyphus, are both attempts at explaining some aspect of the way people think or why humans do as observed. Both stories illustrate the same idea: without necessary and proper exposure to change, thinking is limited and ignorance is the direct product.
Taylor is careful to identify exactly which features of Sisyphus predicament account for the lack of meaning. He argues that the facts that Sisyphus task is both difficult and endless are irrelevant to its meaninglessness. What explains the meaninglessness of Sisyphus’s life is that all of his work amounts to nothing. One way that Sisyphus’s life could have meaning, Taylor proposes, is if something was produced of his struggles. For example, if the stone that he rolls were used to create something that would last forever then Sisyphus would have a meaningful life. Another separate way in which meaning might be made present is if Sisyphus had a strong compulsion for rolling the stone up the hill. Taylor points out, though, that even given this last option, Sisyphus’s life has not acquired an objectives meaning of life; there is still nothing gained besides the fact he just ...
Several philosophers have made differing viewpoints regarding the outlook of life. Richard Taylor and Albert Camus are notably known for presenting their thoughts on whether life is meaningless or not through the use of the Greek myth of Sisyphus. The two philosopher’s underlying statement on the meaning of life is understood through the myth. The myth discusses the eternal punishment of Sisyphus who was condemned by the Gods to take a large boulder up a hill, only to have it roll back down, forcing him to repeat this task endlessly. Each conceive the myth in their own way and ultimately end with a conclusion that differs from each other. Taylor’s ideals and his take on the meaning of life contrast with what Camus presents in his argument. While Taylor suggests that there is a subjective meaning to life, Camus states that life is ultimately meaningless.
During the Ancient Grecian time periods, tragedy meant death because one defied against an outer prophecy. Modern day tragedy was simply realism, the unspoken way of life. In Sophocles' Oedipus the King and Ibsen's A Doll's House, the main characters - Nora and Oedipus, are both constructed to illustrate flaws in society and how naive people are. Ibsen and Sophocles both developed tragedy into a central idea that all people surreptitiously understand. Nora and Oedipus make incompetent decisions that assist in discovering their fundamental nature as tragic heroes and provoke sorrow and pity among the audience.
Of the many themes and philosophies that Camus struggled with during his life and presented to the world through his writings, one of the more prevalent was that of the absurd. According to Camus, the world, human existence, and a God are all absurd phenomenons, devoid of any redeeming meaning or purpose. Through Mersaults’ epiphany in The Stranger, where he opens himself to the “gentle indifference of the world”, we see how Camus understands the world to be a place of nothingness, which demands and desires nothing from humans. He further explores this philosophy in The Plague, where the world of indifference is understood as a world of fear, which takes a symbolically tangible form in the plague itself. In The Plague the citizens of Oran fear that which they cannot control, understand or fight. They are faced with the most fundamental experiences of life and death, and it is only in the end that a very few find a way to cope with and understand these two ultimatums.
Camus addresses the consciousness of Meursault and Sisyphus through their fate. By the ability to recognize his past, Sisyphus shows how Meursault lacks unhappiness. Meursault has nothing with which to compare the pleasure he feels instantly, so he is at the least continually content and possibly perpetually happy. Conversely, Sisyphus understands his past yet chooses not to compare his past to the present or his known future. When the priest asks Meursault if he would prefer a different life to his own, he remarks he wants a life “where I could remember this one.
The aim of tragedy is to evoke fear and pity, according to Aristotle, who cited the Oedipus Tyrannus as the definitive tragic play. Thus pity must be produced from the play at some point. However, this does not necessarily mean that Oedipus must be pitied. We feel great sympathy ('pathos') for Jocasta's suicide and the fate of Oedipus' daughters. Oedipus could evoke fear in us, not pity. He is a King of an accursed city willing to use desperate methods, even torture to extract truth from the Shepherd. His scorning of Jocasta just before her death creates little pity for him, as does his rebuke of the old, blind Tiresias. But with this considered, we must not forget the suffering he endures during his search for knowledge and the ignorant self-destruction he goes under.
Aristotle defined a tragic story as the adventure of a good man who reaches his ultimate downfall because he pushed his greatest quality too far. Sophocles advocates the definition in the tragic play Oedipus Rex. He develops the play with the great polarities of fame and shame, sight and blindness, and ignorance and insight to show Oedipus’ experiences in search for knowledge about his identity. Through his search, Oedipus pushes his quest for truth too far and ultimately reaches his doom. Oedipus’ reliance on his intellect is his greatest strength and ultimate downfall.
Aristotle’s Poetics is a “reservoir of the themes and schemes deployed in ancient Greek tragedy and poetry” (Poetics iii). Written around 330 B.C., it was the first work of literature to make a distinction amongst the various literary genres and provide a proper analysis of them. In Poetics, Aristotle places a big emphasis on the genre of tragedy. When one hears of the word tragedy, one already assumes that something bad has occurred to an individual and an immediate emotion of sorrow occurs, but how does Aristotle see tragedy? Aristotle gives us his formal definition of tragedy on page 10: “Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action; through pity and fear effecting the proper purgation of these emotions.” He goes on and explains all the components that make up tragedy. A tragedy must fall into two parts: complication and unraveling (also known as the denouement). Aristotle elaborates on that and speaks of four types of tragedy: “the Complex, depending entirely on Reversal of the Situation and Recognition; the Pathetic (where the motive is passion); the Ethical (where the motives are ethical). The fourth kind is the Simple.
Ever since civilizations began forming around 3,500 B.C (TimeMaps), there has been a gradual formation of social hierarchies. As humanity advanced, the progression of more needs was met, and the emphasis on knowledge and understanding of existence became more important. Philosophy is the study of the fundamental nature of knowledge, reality, and existence. The prominent question of its study is to interpret the meaning of our existence. In recent times, a philosopher named Albert Camus won the Nobel Prize for his literary essay, "The Myth of Sisyphus." In this article, Camus brought to light many theories, but the central question posed was, “Proceeding from the premise that, in light of the apparent purposelessness of life, suicide is the only truly serious philosophical problem" (Ward 80). This statement gives an explanation behind the fundamental motivation behind our existence. You can theorize that, by living in an irrational world (Uncertainty), obstacles are inevitable, but to construct our viewpoint about them gives us ultimate control of navigating it.
In 1962, writer Mark Esslin took pleasure in composing the novel Theatre of the Absurd and quickly became a major influence on the works of many inspired writers. Esslin subsequently made ensuing plays and stories which focused on nonspecific existentialist concepts and which did not remain consistent with his ideas, rejecting the “narrative continuity and the rigidity of logic.” As a result, the protagonist of these stories is often not capable of containing himself within his or her disorderly society (“Theatre”). Writer Albert Camus made such an interpretation of the “Absurd” by altering the idea into his view of believing it is the rudimentary absence of “reasonableness” and consistency in the human personality. Not only does Camus attempt to display the absurd through studied deformities and established arrangements; he also “undermines the ordinary expectations of continuity and rationality” (“The Theatre”). Camus envisions life in his works, The Stranger and “The Myth of Sisyphus,” as having no time frame or significance, and the toiling endeavor to find such significance where it does not exist is what Camus believes to be the absurd (“Albert”).
The Greeks considered tragedy the greatest form for literature. However, the tragic ends for the characters were not ordained or set by fate, but rather caused by certain characteristics belonging to that person. Such is the case with the characters of Sophocles' plays Oedipus the King and Antigone. Oedipus from King Oedipus, and Antigone and Creon from Antigone posses characteristics, especially pride, that caused their tragic ends. As the play progress, other characteristics appear and further add to the problem to such a point that it is inevitable that it will end in tragedy. Therefore the tragedies were not a result of a plot by the fates, but rather a result of the characteristics that the characters possessed.
According to Aristotle, a tragedy must be an imitation of life in the form of a serious story that is complete in itself among many other things. Oedipus is often portrayed as the perfect example of what a tragedy should be in terms of Aristotle’s Poetics. Reason being that Oedipus seems to include correctly all of the concepts that Aristotle describes as inherent to dramatic tragedy. These elements include: the importance of plot, reversal and recognition, unity of time, the cathartic purging and evocation of pity and fear, the presence of a fatal flaw in the “hero”, and the use of law of probability.
An absurd hero is developed by the six tenets of existentialism: anxiety, death, the void, existence precedes essence, absurdity, and alienation. These six tenets explain the overwhelming question, “Why do we exist?”. To understand why we exist, one must first question why the absurd happens. Camus did such. Camus develops the plot of his existential novel through a plethora of absurd events that boosts the overall theme of the novel. One example of this is how the town of Oran turns it back on the sea at random moments of time. This is very strange, why would a town that is isolated between the sea and a mountain range want to turn away from the one source of its salvation and one of the few ways it could connec...
The concept of tragic hero is very important in the construction of tragedy. It is the main cause of pity and fear. The tragic hero is a character between the two extremes; he is neither virtuous nor evil. At the same time, this character is better than the ordinary men or audience, he has some good qualities. Moreover, as a tragic hero, he is moving from happiness to misery by his downfall at the end. In fact, this downfall is caused by an error or a flaw in his character not by a vice or depravity. Another feature in the tragic hero is that he has good reputation and he is a man of prosperity. It can be said that Oedipus is a tragic hero because he has all the previous mentioned characteristics and the whole play is a classical application of this concept.