zhū shén chǔfá xī xī fú bù tíng dì bǎ yī kuài jù shí tuī shàng shān dǐng， ér shí tóu yóu yú zì shēn de zhòng liàng yòu gǔn xià shān qù， zhū shén rèn wéi zài yě méi yòu bǐ jìn xíng zhè zhǒng wú xiào wú wàng de láo dòng gèng wéi yán lì de chéng fá liǎo。
　　
　　 hé mǎ shuō， xī xī fú shì zuì zhōng yào sǐ de rén zhōng zuì cōng míng zuì jǐn shèn de rén。 dàn lìng yòu chuán shuō shuō tā qū cóng yú qiáng dào shēng yá。 wǒ kàn bù chū qí zhōng yòu shénme máo dùn。 gè zhǒng shuō fǎ de fēn qí zài yú shì fǒu yào fù yú zhè dì yù zhōng de wú xiào láo dòng zhě de xíng wéi dòng jī yǐ jià zhí。 rén men shǒu xiān shì yǐ mǒu zhǒng qīng shuài de tài dù bǎ tā yǔ zhū shén fàng zài yī qǐ jìn xíng qiǎn zé， bìng lìshǔ tā men de yǐn sī。 ā suǒ bō sī de nǚ 'ér 'āi guǐ nà bèi zhū bì tè jié zǒu。 fù qīn duì nǚ 'ér de shī zōng dà wéi zhèn jīng bìng qiě guài zuì yú xī xī fú， shēn zhī nèi qíng de xī xī fú duì 'ā suǒ bō sī shuō， tā kě yǐ gào sù tā nǚ 'ér de xiāo xī， dàn bì xū yǐ gěi kē lán tè chéng bǎo gōng shuǐ wéi tiáo jiàn， tā nìngyuàn dé dào shuǐ de shèng yù， ér bù shì tiān huǒ léi diàn。 tā yīn cǐ bèi fá xià dì yù， hé mǎ gào sù wǒ men xī xī fú céng jīng 'ě wǎng guò sǐ shén de hóu lóng。 pǔ luò tuō rěn shòu bù liǎo dì yù wáng guó de huāng liáng jì mò， tā cuī cù zhàn shén bǎ sǐ shén cóng qí zhàn shèng zhě shǒu zhōng jiě fàng chū lái。
　　
　　 hái yòu rén shuō， xī xī fú zài lín sǐ qián mào shī dì yào jiǎn yàn tā qī zǐ duì tā de 'ài qíng。 tā mìng lìng tā bǎ tā de shī tǐ rēng zài guǎng chǎng zhōng yāng。 bù jǔ xíng rèn hé yí shì。 yú shì xī xī fú zhòng duò dì yù。 tā zài dì yù lǐ duì nà zì yì jiàn tà rén lèi zhī 'ài de xíng jìng shí fēn fèn kǎi。 tā huò dé pǔ luò tuō de yǔn nuò chóngfǎn rén jiān yǐ chéng fá tā de qī zǐ。 dàn dāng tā yòu yī cì kàn dào zhè dà dì de miàn mào， chóngxīn lǐng lüè liú shuǐ、 yáng guāng de fǔ 'ài， chóngxīn chù mō nà huǒ rè de shí tóu、 kuān kuò de dà hǎi de shí hòu， tā jiù zài yě bù yuàn huí dào yīn sēn de dì yù zhōng qù liǎo。 míng wáng de zhào lìng、 qì fèn hé jǐng gào dōuwú jì yú shì。 tā yòu zài dì qiú shàng shēng huó liǎo duō nián， miàn duì qǐ fú de shān luán， bēn téng de dà hǎi hé dà dì de wēi xiào tā yòu shēng huó liǎo duō nián。 zhū shén yú shì jìn xíng gān shè。 mò qiū lì páo lái jiū zhù zhè mào fàn zhě de lǐng zǐ， bǎ tā cóng huān lè de shēng huó zhōng lā liǎo chū lái， qiáng xíng bǎ tā chóngxīn tóu rù dì yù， zài nà lǐ， wéi chéng fá tā 'ér shè de jù shí yǐ zhǔn bèi jiù xù。
　　
　　 wǒ men yǐ jīng míng bái： xī xī fú shì gè huāng miù de yīng xióng。 tā zhī suǒ yǐ shì huāng miù de yīng xióng， hái yīn wéi tā de hé tā suǒ jīng shòu de mó nán。 tā miǎo shì shén míng， chóu hèn sǐ wáng， duì shēng huó chōng mǎn， zhè bì rán shǐ tā shòu dào nán yǐ yòng yán yǔ jìn shù de fēi rén zhé mó： tā yǐ zì jǐ de zhěng gè shēn xīn zhì lì yú yī zhǒng méi yòu xiào guǒ de shì yè。 ér zhè shì wèile duì dà dì de wú xiàn rè 'ài bì xū fù chū de dài jià。 rén men bìng méi yòu tán dào xī xī fú zài dì yù lǐ de qíng kuàng。 chuàng zào zhè xiē shén huà shì wéi liǎo ràng rén de xiǎng xiàng shǐ xī xī fú de xíng xiàng xǔ xǔ rú shēng。 zài xī xī fú shēn shàng， wǒ men zhǐ néng kàn dào zhè yàng yī fú tú huà： yī gè jǐn zhāng de shēn tǐ qiān bǎi cì dì zhòng fù yī gè dòng zuò： bān dòng jù shí， gǔn dòng tā bìng bǎ tā tuī zhì shān dǐng； wǒ men kàn dào de shì yī zhāng tòng kǔ niǔ qū de liǎn， kàn dào de shì jǐn tiē zài jù shí shàng de miàn jiá， nà luò mǎn ní shì、 dǒu dòng de jiān bǎng， zhān mǎn ní shì de shuāng jiǎo， wán quán jiāng zhí de gēbo， yǐ jí nà jiān shí de mǎn shì ní shì de rén de shuāng shǒu。 jīng guò bèi miǎo miǎo kōng jiān hé yǒng héng de shí jiān zhe de nǔ lì zhī hòu， mùdì jiù dá dào liǎo。 xī xī fú yú shì kàn dào jù shí zài jǐ miǎo zhōng nèi yòu xiàng zhe xià miàn de shì jiè gǔn xià， ér tā zé bì xū bǎ zhè jù shí chóngxīn tuī xiàng shān dǐng。 tā yú shì yòu xiàng shān xià zǒu qù。
　　
　　 zhèng shì yīn wéi zhè zhǒng huí fù、 tíng xiē， wǒ duì xī xī fú chǎn shēng liǎo xīng qù。 zhè yī zhāng bǎo jīng mó nán jìn sì shí tóu bān jiān yìng de miàn kǒng yǐ jīng zì jǐ huà chéng liǎo shí tóu！ wǒ kàn dào zhè gè rén yǐ chén zhòng 'ér jūn yún de jiǎo bù zǒu xiàng nà wú jìn de kǔ nán。 zhè gè shí kè jiù xiàng yī cì hū xī nà yàng duǎn cù， tā de dào lái yǔ xī xī fú de bù xìng yī yàng shì què dìng wú yí de， zhè gè shí kè jiù shì yì shí de shí kè。 zài měi yī gè zhè yàng de shí kè zhōng， tā lí kāi shān dǐng bìng qiě zhú jiàn dì shēn rù dào zhū shén de cháo xué zhōng qù， tā chāo chū liǎo tā zì jǐ de mìng yùn。 tā bǐ tā bān dòng de jù shí hái yào jiān yìng。
　　
　　 rú guǒ shuō， zhè gè shén huà shì bēi jù de， nà shì yīn wéi tā de zhù rén gōng shì yòu yì shí de。 ruò tā xíng de měi yī bù dū yǐ kào chéng gōng de xī wàng suǒ zhī chí， nà tā de tòng kǔ shí jì shàng yòu zài nà lǐ ní？ jīn tiān de gōng rén zhōng shēng dōuzài láo dòng， zhōng rì wán chéng de shì tóng yàng de gōng zuò， zhè yàng de mìng yùn bìng fēi bù bǐ xī xī fú de mìng yùn huāng miù。 dàn shì， zhè zhǒng mìng yùn zhǐ yòu zài gōng rén biàn dé yòu yì shí de 'ǒu rán shí kè cái shì bēi jù xìng de。 xī xī fú， zhè zhū shén zhōng de wú chǎn zhě， zhè jìn xíng wú xiào láo yì 'ér yòu jìn xíng fǎn pàn de wú chǎn zhě， tā wán quán qīng chǔ zì jǐ suǒ chù de bēi cǎn jìng dì： zài tā xià shān shí， tā xiǎng dào de zhèng shì zhè bēi cǎn de jìng dì。 zào chéng xī xī fú tòng kǔ de qīng xǐng yì shí tóng shí yě jiù zào jiù liǎo tā de shèng lì。 bù cún zài bù tōng guò miè shì 'ér zì wǒ chāo yuè de mìng yùn。
　　
　　 rú guǒ xī xī fú xià shān tuī shí zài mǒu xiē tiān lǐ shì tòng kǔ dì jìn xíng zhe de， nà me zhè gè gōng zuò yě kě yǐ zài huān lè zhōng jìn xíng。 zhè bìng bù shì yán guò qí shí。 wǒ hái xiǎng xiàng xī xī fú yòu huí tóu zǒu xiàng tā de jù shí， tòng kǔ yòu chóngxīn kāi shǐ。 dāng duì dà dì de xiǎng xiàng guò yú zhuózhòng yú huí yì， dāng duì xìng fú de chōng jǐng guò yú jíqiè， nà tòng kǔ jiù zài rén de xīn líng shēn chù shēng qǐ： zhè jiù shì jù shí de shèng lì， zhè jiù shì jù shí běn shēn。 jù dà de bēi tòng shì nán yǐ chéng dān de zhòng fù。 zhè jiù shì wǒ men de kè xī mǎ ní zhī yè。 dàn shì， xióng biàn de zhēn lǐ yī dàn bèi rèn shí jiù huì shuāi jié。 yīn cǐ， é dí pǔ sī bù zhī bù jué shǒu xiān qū cóng mìng yùn。 ér yī dàn tā míng bái liǎo yī qiē， tā de bēi jù jiù kāi shǐ liǎo。 yǔ cǐ tóng shí， liǎng yǎn shī míng 'ér yòu sàng shī xī wàng de 'é dí pǔ sī rèn shí dào， tā yǔ shì jiè zhī jiān de wéi yī lián xì jiù shì yī gè nián qīng gū niàn xiān rùn de shǒu。 tā yú shì háo wú gù jì dì fā chū zhè yàng zhèn hàn rén xīn de shēng yīn： “ jìn guǎn wǒ lì jìn jiān nán kùn kǔ， dàn wǒ nián yú bù huò， wǒ de líng hún shēn suì wěi dà， yīn 'ér wǒ rèn wéi wǒ shì xìng fú de。 ” suǒ fú kè lè sī de 'é dí pǔ sī yǔ tuó sī tuǒ yé fū sī jī de jī lǐ luò fū dū tí chū liǎo huāng miù shèng lì de fǎ zé。 xiān xián de zhì huì yǔ xiàn dài yīng xióng zhù yì huì hé liǎo。
　　
　　 rén men yào fā xiàn huāng miù， jiù bù néng bù xiǎng dào yào xiě mǒu zhǒng yòu guān xìng fú de jiào cái。“ āi， shénme！ jiù píng zhè xiē rú cǐ xiá zhǎi de dào lù ……？” dàn shì， shì jiè zhǐ yòu yī gè。 xìng fú yǔ huāng miù shì tóng yī dà dì de liǎng gè chǎn 'ér。 ruò shuō xìng fú yī dìng shì cóng huāng miù de fā xiàn zhōng chǎn shēng de， nà kě néng shì cuò wù de。 yīn wéi huāng miù de gǎn qíng hái hěn kě néng chǎn shēng yú xìng fú。“ wǒ rèn wéi wǒ shì xìng fú de”， é dí pǔ sī shuō， ér zhè zhǒng shuō fǎ shì shén shèng de。 tā huí xiǎng zài rén de fēng kuáng 'ér yòu yòu xiàn de shì jiè zhī zhōng。 tā gào jiè rén men yī qiēdōu hái méi yòu yě cóng méi yòu bèi qióng jìn guò。 tā bǎ yī gè shàng dì cóng shì jiè zhōng qū zhú chū qù， zhè gè shàng dì shì huái zhe bù mǎn zú de xīn lǐ yǐ jí duì wú xiào tòng kǔ de piān hǎo 'ér jìn rù rén jiān de。 tā hái bǎ mìng yùn gǎi zào chéng wéi yī jiàn yīnggāi zài rén men zhī zhōng dé dào 'ān pái de rén de shì qíng。
　　
　　 xī xī fú wú shēng de quán bù kuài lè jiù zài yú cǐ。 tā de mìng yùn shì shǔ yú tā de。 tā de yán shí shì tā de shì qíng。 tóng yàng， dāng huāng miù de rén shēn sī tā de tòng kǔ shí， tā jiù shǐ yī qiē 'ǒu xiàng yǎ rán shī shēng。 zài zhè tū rán zhòng yòu chén mò de shì jiè zhōng， dà dì shēng qǐ qiān wàn gè měi miào xì xiǎo de shēng yīn。 wú yì shí de、 mì mì de zhào huàn， yī qiē miàn mào tí chū de yào qiú， zhè xiē dōushì shèng lì bì bù kě shǎo de duì lì miàn hèyìng fù de dài jià。 bù cún zài wú yīn yǐng de tài yáng， ér qiě bì xū rèn shí hēi yè。 huāng miù de rén shuō“ shì”， dàn tā de nǔ lì yǒng bù tíng xī。 rú guǒ yòu yī zhǒng gè rén de mìng yùn， jiù bù huì yòu gèng gāo de mìng yùn， huò zhì shǎo kě yǐ shuō， zhǐ yòu yī zhǒng bèi rén kàn zuò shì sù mìng de hèyìng shòu dào miè shì de mìng yùn。 cǐ wài， huāng miù de rén zhī dào， tā shì zì jǐ shēng huó de zhù rén。 zài zhè wēi miào de shí kè， rén huí guī dào zì jǐ de shēng huó zhī zhōng， xī xī fú huí shēn zǒu xiàng jù shí， tā jìng guān zhè yī xì liè méi yòu guān lián 'ér yòu biàn chéng tā zì jǐ mìng yùn de xíng dòng， tā de mìng yùn shì tā zì jǐ chuàng zào de， shì zài tā de jì yì de zhù shì xià jù hé 'ér yòu mǎ shàng huì bèi tā de sǐ wáng gù dìng de mìng yùn。 yīn cǐ， máng rén cóng yī kāi shǐ jiù jiān xìn yī qiē rén de dōng xī dū yuán yú rén dào zhù yì， jiù xiàng máng rén kě wàng kàn jiàn 'ér yòu zhī dào hēi yè shì wú qióng jìn de yī yàng， xī xī fú yǒng yuǎn xíng jìn。 ér jù shí réng zài gǔn dòng zhe。
　　
　　 wǒ bǎ xī xī fú liú zài shān jiǎo xià！ wǒ men zǒng shì kàn dào tā shēn shàng de zhòng fù。 ér xī xī fú gào sù wǒ men， zuì gāo de qián chéng shì fǒu rèn zhū shén bìng qiě bān diào shí tóu。 tā yě rèn wéi zì jǐ shì xìng fú de。 zhè gè cóng cǐ méi yòu zhù zǎi de shì jiè duì tā lái jiǎng jì bù shì huāng mò， yě bù shì wò shì。 zhè kuài jù shí shàng de měi yī kē lì， zhè hēi yǒu yǒu de gāo shān shàng de měi yī kē kuàng shā wéi yòu duì xī xī fú cái xíng chéng yī gè shì jiè。 tā pá shàng shān dǐng suǒ yào jìn xíng de dǒu zhēng běn shēn jiù zú yǐ shǐ yī gè rén xīn lǐ gǎn dào chōng shí。 yīnggāi rèn wéi， xī xī fú shì xìng fú de。

　　The Myth of Sisyphus is a philosophical essay by Albert Camus. It comprises about 120 pages and was published originally in 1942 in French as Le Mythe de Sisyphe; the English translation by Justin O'Brien followed in 1955.
　　
　　In the essay, Camus introduces his philosophy of the absurd: man's futile search for meaning, unity and clarity in the face of an unintelligible world devoid of God and eternal truths or values. Does the realization of the absurd require suicide? Camus answers: "No. It requires revolt." He then outlines several approaches to the absurd life. The final chapter compares the absurdity of man's life with the situation of Sisyphus, a figure of Greek mythology who was condemned to repeat forever the same meaningless task of pushing a boulder up a mountain, only to see it roll down again. The essay concludes, "The struggle itself...is enough to fill a man's heart. One must imagine Sisyphus happy."
　　
　　The work can be seen in relation to other works by Camus: the novel The Stranger (1942), the play Caligula (1945), and especially the essay The Rebel (1951).
　　
　　Summary
　　
　　The essay is dedicated to Pascal Pia and is organized in three chapters and one appendix.
　　Chapter 1: An Absurd Reasoning
　　
　　Camus undertakes to answer what he considers to be the only question of philosophy that matters: Does the realization of the meaninglessness and absurdity of life necessarily require suicide?
　　
　　He begins by describing the absurd condition: much of our life is built on the hope for tomorrow yet tomorrow brings us closer to death and is the ultimate enemy; people live as if they didn't know about the certainty of death; once stripped of its common romanticisms, the world is a foreign, strange and inhuman place; true knowledge is impossible and rationality and science cannot explain the world: their stories ultimately end in meaningless abstractions, in metaphors. "From the moment absurdity is recognized, it becomes a passion, the most harrowing of all."
　　
　　It is not the world that is absurd, nor human thought: the absurd arises when the human need to understand meets the unreasonableness of the world, when "my appetite for the absolute and for unity" meets "the impossibility of reducing this world to a rational and reasonable principle."
　　
　　He then characterizes a number of philosophies that describe and attempt to deal with this feeling of the absurd, by Heidegger, Jaspers, Shestov, Kierkegaard and Husserl. All of these, he claims, commit "philosophical suicide" by reaching conclusions that contradict the original absurd position, either by abandoning reason and turning to God, as in the case of Kierkegaard and Shestov, or by elevating reason and ultimately arriving at ubiquitous Platonic forms and an abstract god, as in the case of Husserl.
　　
　　For Camus, who sets out to take the absurd seriously and follow it to its final conclusions, these "leaps" cannot convince. Taking the absurd seriously means acknowledging the contradiction between the desire of human reason and the unreasonable world. Suicide, then, also must be rejected: without man, the absurd cannot exist. The contradiction must be lived; reason and its limits must be acknowledged, without false hope. However, the absurd can never be accepted: it requires constant confrontation, constant revolt.
　　
　　While the question of human freedom in the metaphysical sense loses interest to the absurd man, he gains freedom in a very concrete sense: no longer bound by hope for a better future or eternity, without a need to pursue life's purpose or to create meaning, "he enjoys a freedom with regard to common rules".
　　
　　To embrace the absurd implies embracing all that the unreasonable world has to offer. Without a meaning in life, there is no scale of values. "What counts is not the best living but the most living."
　　
　　Thus, Camus arrives at three consequences from the full acknowledging of the absurd: revolt, freedom and passion.
　　Chapter 2: The Absurd Man
　　
　　How should the absurd man live? Clearly, no ethical rules apply, as they are all based on higher powers or on justification. "Integrity has no need of rules." 'Everything is permitted' "is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact."
　　
　　Camus then goes on to present examples of the absurd life. He begins with Don Juan, the serial seducer who lives the passionate life to the fullest. "There is no noble love but that which recognizes itself to be both short-lived and exceptional."
　　
　　The next example is the actor, who depicts ephemeral lives for ephemeral fame. "He demonstrates to what degree appearing creates being." "In those three hours he travels the whole course of the dead-end path that the man in the audience takes a lifetime to cover."
　　
　　Camus' third example of the absurd man is the conqueror, the warrior who forgoes all promises of eternity to affect and engage fully in human history. He chooses action over contemplation, aware of the fact that nothing can last and no victory is final.
　　Chapter 3: The Myth of Sisyphus
　　
　　In the last chapter, Camus outlines the legend of Sisyphus who defied the gods and put Death in chains so that no human needed to die. When Death was eventually liberated and it came time for Sisyphus himself to die, he concocted a deceit which let him escape from the underworld. Finally captured, the gods decided on his punishment: for all eternity, he would have to push a rock up a mountain; on the top, the rock rolls down again and Sisyphus has to start over. Camus sees Sisyphus as the absurd hero who lives life to the fullest, hates death and is condemned to a meaningless task.
　　
　　Camus presents Sisyphus's ceaseless and pointless toil as a metaphor for modern lives spent working at futile jobs in factories and offices. "The workman of today works every day in his life at the same tasks, and this fate is no less absurd. But it is tragic only at the rare moments when it becomes conscious."
　　
　　Camus is interested in Sisyphus' thoughts when marching down the mountain, to start anew. This is the truly tragic moment, when the hero becomes conscious of his wretched condition. He does not have hope, but "[t]here is no fate that cannot be surmounted by scorn." Acknowledging the truth will conquer it; Sisyphus, just like the absurd man, keeps pushing. Camus claims that when Sisyphus acknowledges the futility of his task and the certainty of his fate, he is freed to realize the absurdity of his situation and to reach a state of contented acceptance. With a nod to the similarly cursed Greek hero Oedipus, Camus concludes that "all is well," indeed, that "One must imagine Sisyphus happy."
　　Appendix
　　
　　The essay contains an appendix titled "Hope and the Absurd in the work of Franz Kafka". While Camus acknowledges that Kafka's work represents an exquisite description of the absurd condition, he maintains that Kafka fails as an absurd writer because his work retains a glimmer of hope.