That quote does seem to be attributed to Camus by various people on the internet, but I believe that may be erroneous. This became a pervasive theme by the time Camus was establishing his literary reputation. Eluding is seeking diversions so that we will not have to face the fact of death, or for that matter, the possibility of authenticity. All the rest — whether or not the world has three dimensions, whether the mind has nine or twelve categories — comes afterwards. But it also reflects his capacity for interpreting a specific disagreement in the broadest possible terms—as a fundamental conflict of philosophies.
Intending to serve loyally and to advocate a negotiated peace in the barracks, he was angered that his tuberculosis disqualified him Lottman, 201—31; Aronson 2004, 25—28. These certainly reached back to his expulsion from the Communist Party in the mid-1930s for refusing to adhere to its Popular Front strategy of playing down French colonialism in Algeria in order to win support from the white working class. Of course Camus could not have known as he spoke these words that most of his writing career was in fact behind him. Arendt would call this the vita activa, the life of action. But simultaneously he situates himself in relation to time. Hubby orders a change in pain medication he was already on a course at the discretion of the attending physician, as authorized by family. In 1940, Camus married , a pianist and mathematician.
On the other hand, besides his personal rejection of the label, there appear to be solid reasons for challenging the claim that Camus is an existentialist. The feeling of absurdity is closely linked to the feeling that life is meaningless. Instead we have to recognize that Sisyphus is happy. Camus recognizes that hope and the revolutionary drive are essential directions of the post-classical Western spirit, stemming from its entire world of culture, thought, and feeling. The pressing question of this essay, then, is whether the idea that life is meaningless necessarily implies that life is not worth living.
Camus has explained the drama as an attempt to capture the atmosphere of malaise, corruption, demoralization, and anonymity that he experienced while living in France during the German occupation. Similarly, The Plague can be interpreted, on at least one level, as an allegory in which humanity must be preserved from the fatal pestilence of mass culture, which converts formerly free, autonomous, independent-minded human beings into a soulless new species. Because The Rebel claimed to describe the attitude that lay behind the evil features of contemporary revolutionary politics, it became a major political event. Camus points out, however, that there is no more meaning in death than there is in life, and that it simply evades the problem yet again. As in his criticism of the existentialists, Camus advocates a single standpoint from which to argue for objective validity, that of consistency.
He spends much less time dismissing arguments that it is an affront to one's duty to others or to oneself. Each one of them tries somehow to resolve the conflict between human reason and an irrational universe in one way or another. The play is set in the Spanish seaport city of Cadiz, famous for its beaches, carnivals, and street musicians. Communism is the contemporary expression of this Western sickness. It is to conquer this that I need my strength and my resources. They are almost a hallmark of his philosophical style. Like these writers, he aims at nothing less than a thorough, candid exegesis of the human condition, and like them he exhibits not just a philosophical attraction but also a personal commitment to such values as individualism, free choice, inner strength, authenticity, personal responsibility, and self-determination.
In 1936, he became a co-founder, along with a group of young fellow intellectuals, of the Théâtre du Travail, a professional acting company specializing in drama with left-wing political themes. It obliges one to a higher achievement. I am not trying to suggest that medications don't have a role in finding meaning. This paradoxical situation, then, between our impulse to ask ultimate questions and the impossibility of achieving any adequate answer, is what Camus calls the absurd. It seems he became blinded by ideology, separating Communism from the other evils of the century and directing his animus there. He took particular pride in his work as a dramatist and man of the theatre.
Yet, it was precisely a preoccupation with suicide that Camus considered the most fundamental question of philosophy. He shares with these philosophers and with the other major writers in the existentialist tradition, from Augustine and Pascal to Dostoyevsky and Nietzsche an habitual and intense interest in the active human psyche, in the life of conscience or spirit as it is actually experienced and lived. The author was buried in the local cemetery at Lourmarin, a village in Provencal where he and his wife and daughters had lived for nearly a decade. Meanwhile alongside and against this leitmotif of Christian images and themes, Camus sets the main components of his essentially pagan worldview. A world that can be explained even with bad reasons is a familiar world.
The name change signaled a new emphasis on classic drama and avant-garde aesthetics and a shift away from labor politics and agitprop. Camus, the great French absurdist said that suicide is the only truly serious philosophical problem. But they suggest what philosophy is for Camus and how he conceives its relationship to literary expression. Even after Francine gave birth to twins, Catherine and Jean, on 5 September 1945, he continued to joke to friends that he was not cut out for marriage. Signature Albert Camus ; French: ; 7 November 1913 — 4 January 1960 was a philosopher, author, and journalist. Examples of this are incurable disease or lifelong mental illness.