* * *
Thus I draw from the absurd three consequences, which are my revolt, my freedom, and my passion. By the mere activity of consciousness I transform into a rule of life what was an invitation to death—and I refuse suicide. I know, to be sure, the dull resonance that vibrates throughout these days. Yet I have but a word to say: that it is necessary. When Nietzsche writes: “It clearly seems that the chief thing in heaven and on earth is to obey at length and in a single direction: in the long run there results something for which it is worth the trouble of living on this earth as, for example, virtue, art, music, the dance, reason, the mind— something that transfigures, something delicate, mad, or divine,” he elucidates the rule of a really distinguished code of ethics. But he also points the way of the absurd man. Obeying the flame is both the easiest and the hardest thing to do. However, it is good for man to judge himself occasionally. He is alone in being able to do so.
“Prayer,” says Alain, “is when night descends over thought.”
“But the mind must meet the night,” reply the mystics and the existentials. Yes, indeed, but not that night that is born under closed eyelids and through the mere will of man—dark, impenetrable night that the mind calls up in order to plunge into it. If it must encounter a night, let it be rather that of despair, which remains lucid—polar night, vigil of the mind, whence will arise perhaps that white and virginal brightness which outlines every object in the light of the intelligence. At that degree, equivalence encounters passionate understanding. Then it is no longer even a question of judging the existential leap. It resumes its place amid the age-old fresco of human attitudes. For the spectator, if he is conscious, that leap is still absurd. In so far as it thinks it solves the paradox, it reinstates it intact. On this score, it is stirring. On this score, everything resumes its place and the absurd world is reborn in all its splendor and diversity.
But it is bad to stop, hard to be satisfied with a single way of seeing, to go without contradiction, perhaps the most subtle of all spiritual forces. The preceding merely defines a way of thinking. But the point is to live.
Part II, The Absurd Man
If Stavrogin believes, he does not think he believes. If he does not believe, he does not think he does not believe.
—The Possessed
My field,” said Goethe, “is time.” That is indeed the absurd speech. What, in fact, is the absurd man? He who, without negating it, does nothing for the eternal. Not that nostalgia is foreign to him. But he prefers his courage and his reasoning. The first teaches him to live without appeal and to get along with what he has; the second informs him of his limits. Assured of his temporally limited freedom, of his revolt devoid of future, and of his mortal consciousness, he lives out his adventure within the span of his lifetime.
That is his field, that is his action, which he shields from any judgment but his own. A greater life cannot mean for him another life. That would be unfair. I am not even speaking here of that paltry eternity that is called posterity. Mme Roland relied on herself. That rashness was taught a lesson. Posterity is glad to quote her remark, but forgets to judge it. Mme Roland is indifferent to posterity.
There can be no question of holding forth on ethics. I have seen people behave badly with great morality and I note every day that integrity has no need of rules. There is but one moral code that the absurd man can accept, the one that is not separated from God: the one that is dictated. But it so happens that he lives outside that God. As for the others (I mean also immoralism), the absurd man sees nothing in them but justifications and he has nothing to justify. I start out here from the principle of his innocence.
That innocence is to be feared. “Everything is permitted,” exclaims Ivan Karamazov.
That, too, smacks of the absurd. But on condition that it not be taken in the vulgar sense. I don’t know whether or not it has been sufficiently pointed out that it is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact. The certainty of a God giving a meaning to life far surpasses in attractiveness the ability to behave badly with impunity. The choice would not be hard to make. But there is no choice, and that is where the bitterness comes in. The absurd does not liberate; it binds. It does not authorize all actions.
“Everything is permitted” does not mean that nothing is forbidden. The absurd merely confers an equivalence on the consequences of those actions. It does not recommend crime, for this would be childish, but it restores to remorse its futility. Likewise, if all experiences are indifferent, that of duty is as legitimate as any other. One can be virtuous through a whim.
All systems of morality are based on the idea that an action has consequences that legitimize or cancel it. A mind imbued with the absurd merely judges that those consequences must be considered calmly. It is ready to pay up. In other words, there may be responsible persons, but there are no guilty ones, in its opinion. At very most, such a mind will consent to use past experience as a basis for its future actions. Time will prolong time, and life will serve life.
In this field that is both limited and bulging with possibilities, everything in himself, except his lucidity, seems unforeseeable to him. What rule, then, could emanate from that unreasonable order? The only truth that might seem instructive to him is not formal: it comes to life and unfolds in men. The absurd mind cannot so much expect ethical rules at the end of its reasoning as, rather, illustrations and the breath of human lives. The few following images are of this type. They prolong the absurd reasoning by giving it a specific attitude and their warmth.
Do I need to develop the idea that an example is not necessarily an example to be followed (even less so, if possible, in the absurd world) and that these illustrations are not therefore models? Besides the fact that a certain vocation is required for this, one becomes ridiculous, with all due allowance, when drawing from Rousseau the conclusion that one must walk on all fours and from Nietzsche that one must maltreat one’s mother. “It is essential to be absurd,” writes a modern author, “it is not essential to be a dupe.” The attitudes of which I shall treat can assume their whole meaning only through consideration of their contraries.
A sub-clerk in the post office is the equal of a conqueror if consciousness is common to them. All experiences are indifferent in this regard. There are some that do either a service or a disservice to man. They do him a service if he is conscious. Otherwise, that has no importance: a man’s failures imply judgment, not of circumstances, but of himself.
I am choosing solely men who aim only to expend themselves or whom I see to be expending themselves. That has no further implications. For the moment I want to speak only of a world in which thoughts, like lives, are devoid of future. Everything that makes man work and get excited utilizes hope. The sole thought that is not mendacious is therefore a sterile thought. In the absurd world the value of a notion or of a life is measured by its sterility.
Part II, Chapter I, Don Juanism
If it were sufficient to love, things would be too easy. The more one loves, the stronger the absurd grows. It is not through lack of love that Don Juan goes from woman to woman. It is ridiculous to represent him as a mystic in quest of total love. But it is indeed because he loves them with the same passion and each time with his whole self that he must repeat his gift and his profound quest. Whence each woman hopes to give him what no one has ever given him. Each time they are utterly wrong and merely manage to make him feel the need of that repetition. “At last,” exclaims one of them, “I have given you love.” Can we be surprised that Don Juan laughs at this? “At last? No,” he says, “but once more.” Why should it be essential to love rarely in order to love much?
Is Don Juan melancholy? This is not likely. I shall barely have recourse to the legend. That laugh, the conquering insolence, that playfulness and love of the theater are all clear and joyous. Every healthy creature tends to multiply himself. So it is with Don Juan.
But, furthermore, melancholy people have two reasons for being so: they don’t know or they hope. Don Juan knows and does not hope. He reminds one of those artists who know their limits, never go beyond them, and in that precarious interval in which they take their spiritual stand enjoy all the wonderful ease of masters. And that is indeed genius: the intelligence that knows its frontiers. Up to the frontier of physical death Don Juan is ignorant of melancholy.
The moment he knows,
