Acts Without Words I and II by Samuel Beckett

Act Without Words I

Act Without Words I (a mime for one player) is a short mime piece written by Samuel Beckett. It was originally performed after Beckett’s major play, Endgame, during the latter’s first run in London. It was Beckett’s first attempt at the genre and dates from a period when he had just experimented with his first play, Waiting For Godot, and his first radio play, All That Fall. You can view a modern production of it on YouTube.

The scene is a desert on to which a man is abruptly ‘flung backwards’. Mysterious whistles draw his attention in various directions. A number of more or less desirable objects, notably a carafe of water, are dangled before him. He tries to reach up to the water but it is out of reach.

A number of cuboid boxes, obviously designed to make it easier for him to reach the water, descend from the flies, each one’s arrival signalled by a blast on the whistle. But however ingeniously he piles them on top of one another, the water is always moved to be just out of reach.

After ten or so minutes of painfully frustrated efforts, in the end the protagonist sinks into complete immobility. The whistle sounds – but he no longer pays attention. The water is dangled right in front of his face, but he doesn’t move. Even the palm tree in the shade of which he has been sitting is whisked off into the flies. He remains immobile, looking at his hands.

The meaning(s)

It’s a variation on the theme of Godot except with one protagonist instead of the four we meet in the play.


If you take a bleak and nihilistic view of Beckett, then the mime depicts a man flung on to the stage of life, at first obeying the call of a number of impulses, drawn to the pursuit of illusory objectives by whistles blown from the wings, but finding peace only when he has learned the pointlessness of even trying to attain any of these objective, and finally refusing any of the physical satisfactions dangled before him. He can find peace only through ‘the recognition of the nothingness which is the only reality’.

Actually a number of Beckett critics including Ruby Cohn and Ihab Hassan have dismissed it as too obvious and too pat. ‘Oh dear, life is meaningless, what shall I do?’ When stated that bluntly, it is a cliché.


That said, the putting of a man through a number of humiliating tasks which he can never achieve, in a wordless mime, is strikingly similar to early, black-and-white, comedy films. Take the 1916 short film One am written, directed and starring Charlie Chaplin. In its 34 minute duration a posh man in a top hat who is very drunk is dropped off outside his house by a taxi and then spends the next 30 minutes trying to find his key, get into the house and then taking an awesome amount of time getting up the stairs.

Or take the Laurel and Hardy comedy short, The Music Box, in which the hapless duo are deliverymen tasked with delivering a big, heavy piano up the longest flight of stairs in California.

Viewed through this lens, the protagonist is reduced not to nihilistic despair, but to sulky refusal to take part in this stupid game. Both, it seems to me, are valid interpretations of the work and, if you like, of ‘life itself’.


In The Faber Companion to Samuel Beckett, C.J. Ackerley and S.E. Gontarski suggest that the protagonist’s final refusal to play, to be tempted by the water dangling in front of him, is not a sulk, it represents his rejection of purely physical needs and his rebellion against his fate. In refusing and rising above purely physical needs, he is enacting the psychological process described by Albert Camus in his lengthy sociological work, The Rebel (1951). Maybe…

From a deluge of words to wordlessness

What strikes me about this play or mime is the fact that a mime, in effect, consists entirely of stage directions.

In this respect Beckett’s work presents an interesting trajectory, from the vast solid cliffs of prose in The Beckett Trilogy via the light and fast-moving dialogue of his main plays (Waiting For Godot, Endgame, Krapp’s Last Tape) to the abandonment of the written or spoken word altogether and the reduction of the dramatic event to action, pure and simple, of wordless mime consisting solely of stage directions.

Beckett’s stage directions

It also reminds the viewer of the extreme precision and pedantry of Beckett’s stage directions. Beckett was always obsessive about the physical behaviour of his characters, regarding humans as closer to automata than people, as evidence in the numerous obsessively detailed descriptions of physical options and behaviours in the novel Watt.

He carried this obsessive attention to the minutiae of physical action over into his plays and became notorious among directors and actors for the extreme precision of his stage directors and his inflexible insistence that they must be followed to the letter, precisely as he had written them.

As you read through the plays, as you come across more mimes and musical movements and so on, you realise that the composition of the stage directions was every bit as precise and detailed and calculated for effect as the actual prose and dialogue and speeches.

And of course no member of the audience is aware of this but the reader of the piece sees that it ends with the four-times repeated stage direction He does not move, reminding us of the famous stage direction at the bitter end of Godot – They do not move.


Speaking of Waiting For Godot at one point in Act Without Words the protagonist takes the length of rope he’s been given and obviously plans to hang himself from the palm tree which is more or less the only feature in the desert landscape.

This reminds us of Estragon’s throwaway suggestion in Waiting For Godot that the two tramps hang themselves and, of course, both suggestions turning out to be fruitless. You don’t get out of it that easy, this thing called life.

Act Without Words II

Act Without Words II is another short mime, written a few years after the first one. It, also, was composed in French before being translated into English by the author although, being a mime, there was no dialogue to translate, just the stage directions. The London premiere was directed by Michael Horovitz and performed at the Institute of Contemporary Arts on 25 January 1960.

Even more than the first one, number II is another work which depends entirely on the precision of the choreography. Two men are in sacks. A long stick enters from stage right and pokes one of the sacks. Character A struggles out of his sack and elaborately gets dressed before picking up the second sack and placing it further from the stick, before undressing and getting back into his sack. The same procedure is then applied to the other sack containing Character B, who is poked, struggles out of his sack, does callisthenics, cleans his teeth, gets dressed and so on. His job is to move the other sack, containing Character A further along the stage, before he, too, undresses and gets back into his sack. And so on, Forever.

Anyone who’s read Watt or Molloy will recognise the helpless, Aspergers syndrome-like obsessiveness of the repeated behaviour, of numerous apparently pointless repetitions carried out with minute variations and exasperating precision. This, the work says, is how utterly pointless our lives are with all the gettings-up and breakfasts and showers and dressing and going to work. All variations on the same bloody pointless and endlessly similar actions. Is this it? Is this all?

To emphasise the precision he wants and the clinical emptiness of the actions, Beckett includes a diagram of the changing positions of the sacks relative to each other.

The Goad

At the height of the Swinging Sixties, in 1966, photographer Paul Joyce (the great-grand-nephew of James Joyce) saw Act Without Words II as part of a Sunday evening performance at the Aldwich theatre and thought it would make a fun short experimental film. Joyce approached the cast, Freddie Jones and Geoffrey Hinscliff, and they said okay, so, after a little thought, Joyce transposed the production from the theatre to a rubbish dump in Rainham, Essex.

The way there are two characters who fuss about their clothes, and wear silly outfits, and both wear bowler hats, reminds us of Vladimir and Estragon in Waiting For Godot – just as Character A eating a carrot reminds us of Vladimir offering Estragon a carrot, who proceeds to make such a palaver about eating it, in act one of Godot.

Having started to think about silent comedy classics, it’s hard not to miss the suggestion that Character A’s ill-fitting suit and round hat is at least in part a reference to Charlie Chaplin’s tramp character, while Character B’s skinny physique, bony face and pork pie hat is strongly reminiscent of Buster Keaton.

It is an absurdist reductio ad absurdum, but it is telling us something less about Life, than about literature and film – namely that the comic and the bleakly nihilistic are very closely allied. If you slip on a banana skin and band your nose it’s a tragedy; if someone else does, it’s a comedy.

Both these mimes strike me as having next to nothing to say about ‘Life’ – what a ridiculous idea! – but do make you reflect a bit about the thin line which separates tragedy from comedy, the humdrum from the absurd, the serious and po-faced from the farcically hilarious.

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The full set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

  • All That Fall (1957) Radio play
  • *Act Without Words I & II (1957) Stage plays
  • *Endgame (1958) Stage play
  • *Krapp’s Last Tape (1958) Stage play
  • *Rough for Theatre I & II – Stage plays
  • Embers (1959) – Radio play
  • *Happy Days (1961) – Stage play
  • Rough for Radio I & II (1961) Radio plays
  • Words and Music (1961) Radio play
  • Cascando (1961) Radio play
  • *Play (1963) Stage play
  • How it Is (1964) Novel
  • *Come and Go (1965) Stage play
  • Imagination Dead Imagine (1965) Short story
  • Eh Joe (1967) Television play
  • *Breath (1969) Stage play

Awarded the Nobel Prize for Literature 1969

  • The Lost Ones (1972) Short story
  • *Not I (1972) Stage play
  • *That Time (1975) Stage play
  • *Footfalls (1976) Stage play
  • … but the clouds… (1976) Television play
  • All Strange Away (1976) Short story
  • Ghost Trio (1977) Television play
  • Company (1979) Short story
  • *A Piece of Monologue (1980) Stage play
  • *Rockaby (1981) Stage play
  • Quad (1981) Television play
  • Ill Seen Ill Said (1981) Short novel
  • *Ohio Impromptu (1981) Stage play
  • *Catastrophe (1982) Stage play
  • Worstward Ho (1983) Prose
  • Nacht und Träume (1983) Television play
  • *What Where (1983) Stage play
  • Stirrings Still (1989) Short prose

Camus by Conor Cruise O’Brien (1970)

O’Brien (1917-2008) was Irish and had a long and varied career alternating between politics (Irish Foreign Office, United Nations, MP), journalism (editor-in-chief of the London Observer) and teaching (at universities in Ghana and New York). So he was well-placed to give an all-round assessment of Camus’s role as a novelist, playwright and above all, politically engaged writer and intellectual, 10 years after the Frenchman’s tragic death.

Only when I’d finished it did I understand the blurbs on the back of the book which point out that the entire study is written to a thesis, with a particular political interpretation in mind.

The Arab problem O’Brien starts by briskly outlining Camus’s biography and then gets on with ruffling feathers and questioning received opinion. He quotes a French writer on Camus who claims that all the working class inhabitants of the slum where Camus grew up were happily inter-racial. No, they weren’t says O’Brien; that kind of community is always troubled and there is evidence of outbreaks of unrest throughout Camus’s life.

O’Brien quotes some of Camus’s earliest essays which already make generalisations about Mediterranean Man, invoking images of Greek temples and so on. Absolutely nowhere in these portraits of his homeland does he mention mosques, muezzin, nowhere in any of his fictions is Arabic spoken. (Arabic was, in fact, banned in Algeria’s French-controlled schools.) Just a few pages into his study, O’Brien claims that, regardless of his conscious intentions, throughout his career Camus’s concept of ‘Mediterranean culture’ – by completely erasing Arab culture – served to legitimise French colonialism.

The Outsider (1940) Tough attitude, eh? O’Brien takes it on into his reading of L’Etranger. Here he points out that the account of Mersault’s trial is misleading. a) Mersault’s defence lawyer would have shown that he was defending himself against an Arab who had drawn a knife and had already attacked his friend, Raymond. Chances are a French court would only have charged him with manslaughter and possibly let him off altogether. No way it would have condemned him to death for self-defence against an Arab. b) The entire trial subtly implies that Frenchman and Arab had identical legal and civil rights in French Algeria, but they didn’t.

By gliding over this basic fact, the entire novel softens and conceals the harshness of French rule. This partly explains why the entire second part, devoted to the improbable trial and a schematic encounter with the prison priest, although its central to the plot, is less well remembered than the first half, set in the streets of Algiers, the beach, the desert heat.

O’Brien voices the misgivings I myself had on recently rereading L’Etranger, that the killing of the Arab is not really real. It is for his entire detachment from society that we feel Mersault is convicted – and this mood of rebellious detachment appeals now as it did then to adolescent minds everywhere. But no longer being a troubled adolescent, for me what stood out was the way the Arab has no name, never speaks and goes completely unlamented.

The Myth of Sisyphus (1942) O’Brien suggests this long essay is less a work of philosophy than the soliloquy of an artist meditating on suicide and death. He questions the novelty or viability of Camus’s notion of ‘revolt’, claiming that the post-God stance was the common currency of the time, and that every nation had rebelled against the Nazi occupation. O’Brien says that nonetheless the book had a big imapct on him and  his contemporaries because of its vivid affirmations of life in the face of death and despair.

The Plague (1947) O’Brien says The Plague is a masterpiece but it is not a novel; it is an ‘allegorical sermon’, and quotes Camus who himself referred to it as ‘a tract’.

O’Brien points out its flaws. For a start, Camus was apparently influenced by a recent article of Sartre’s on bourgeois fiction, to drop the notion of an omnipotent narrator. Apparently this explains why there is a fallible ‘Narrator’ who makes a fuss explaining how he has collated other documents, including Tarrou’s diary, to create his text, but this subterfuge is a) not consistently carried through – it ought to have had more newspaper reports or other sources to give it a real documentary feel b) is clumsily undermined when the text reveals at the end that ‘the Narrator’ is none other than Dr Rieux – who has been its central character! Puzzling and unsatisfactory.

But O’Brien goes, once again, for its most striking feature – the complete absence of the Arabs who, of course, made up eight-ninths of the population of Oran, the supposedly Algerian city where the plague breaks out.

O’Brien suggests they have to be erased from the narrative if it wants to be an allegory of the Nazi Occupation of France; for that allegory to work the chosen city must be a purely French city; the presence of Arabs complicates the allegory, in fact would ruin it, because you would have an oppressed population within the oppressed population. But O’Brien speculates that Camus might also have been aware of a more subversive interpretation of his allegory: that it was the French in Algeria who were the plague, the violent conquerors of the free Arabs.

By now O’Brien’s tone is scathing. He refers to the erasure of Arabs from the novel as ‘an artistic final solution to the problem of the Arabs’ – and points out how breath-takingly hypocritical it is that this genocide of the imagination takes place in a book stuffed so full of worthy characters calling for ‘total honesty’ about describing their situation; in a book whose central message is honesty and integrity in the face of the world’s injustice. Ha!

The Rebel (1951) O’Brien concentrates on the political message of The Rebel, specifically its anti-communism, using it as a focus to trace the slowly increasing vehemence of Camus’s anti-communism from the ambivalence of the Resistance days, to his final speeches and essays.

Argument with Sartre (1951) Camus’s attitude to communism was the crux of the break with Sartre when a journalist reviewed The Rebel unfavourably in Sartre’s journal, Les Temps Modernes. O’Brien, surprisingly, takes Sartre’s side by suggesting it needed more integrity to stand up to the immense weight of anti-communist feeling at the time, much of which was stoked up by CIA-funded publications and journalists. Sartre never joined the communist party but for writing in general terms about revolution he was subjected to lots of criticism. Via the same agents of cultural control, Camus found himself being championed as an exponent of liberal democracy and freedom (which he largely was, but with the vulnerabilities O’Brien is pointing out).

Colonialism O’Brien thinks the mounting vehemence of Camus’s hatred of communism and the historical/philosophical arguments he put forward in The Rebel to argue that communist regimes were uniquely, and inevitably, evil and repressive – masked a very bad conscience about the equally inevitable violence and repression of the French Empire, which had started as soon as the World War ended with violent suppression of independence movements in Algeria and Indo-China, to name the two biggest.

Exile and the Kingdom (1957) O’Brien dates these six short stories to just before the Algerian war broke out. Interestingly, O’Brien sees La Femme adultère and Le Renégat as a diptych contrasting heaven and hell. In the first a bored ignored wife has a mystical experience under the stars of the Algerian night sky; the latter is the demented monologue of a Christian missionary to native tribes who has had his tongue ripped out and been reduced to madness.

O’Brien notices how all the stories, even the realistic one about workers at a small workshop in Algiers who go on strike – have a dream-like quality. Everything he wrote, no matter how brutally realistic, was pulled towards a kind of allegorical abstractness.

Actuelles III (Chroniques Algériennes) In 1958 Camus published an entire collection devoted to bringing together all his writings on Algeria, O’Brien is correct to describe them as ‘depressing’. I have just read those of them which Camus selected to be included in his selection of journalism, Resistance, Rebellion, and Death (1961). What’s depressing is their growing irrelevance, which is matched by a steady escalation of high-minded sentiment.

O’Brien catches this in a neat formulation, when he describes them as ‘categorical and resonant in tone, equivocal in substance.’ Yes, it’s the categorical style of all Camus’s factual writing which I find so wearing, the sense that every sentence is pointing out important distinctions and subtleties in what are, in actual fact, a depressingly narrow range of ideas – freedom, oppression, death, life, suicide, freedom, death, rebellion, freedom. Round and round like hamsters in a cage.

The Algerian War of Independence broke out with attacks on French military and civilians on 1 November (All Saints Day) 1954. After a year of escalating massacres and political deadlock, in January 1956 Camus went in person to Algeria and held a public meeting at which he presented his one contribution, the idea of a ‘truce for civilians’ which both sides could abide by. (The speech is reprinted in Resistance, Rebellion, and Death.) He was barracked by the Europeans and ignored by the Muslims and the meeting broke up in disarray. He wrote numerous articles and interviews, but that was his one and only public intervention. His suggestion sank like a stone. The massacres continued for another six years, spreading to mainland France and leading to the widespread use of torture, before the French eventually conceded defeat and granted Algeria independence on 5 July 1962.

O’Brien is cutting. The Algerian war fatally undermined Camus’s position.

  • In his articles Camus was always careful to balance both sides. This sounds fair but what it really means is that he can’t bring himself to come out and state the fact that the entire disaster is the result of French colonialism, government incompetence, cultural arrogance, and systematic repression (rather like the defeat of France in 1940 – almost like there’s some kind of pattern).
  • Camus consistently ruled out any negotiation with the Front de Libération Nationale (the FLN, the leaders of the Algerian revolt), insisting that: 1. Algeria be restored to peace before 2. discussions with moderate Arab representatives could take place, but 3. Algeria could never be given independence because of its economic and social backwardness. But Camus’s central positions – no negotiation with the FLN, no independence – echoed and in effect supported the main French government policy and the military strategy which, with horrible inevitability, led on to the torture and massacres, and to the rise of the French terrorist organisation, OLS, which would end up trying to assassinate the president and organise a military coup in France. It was a complete dead end.

The volume of essays, Resistance, Rebellion, and Death, counterpoints the writings on Algeria and his trip there in 1956, with Camus’s two long pieces about the Hungarian Uprising against Soviet control which took place on October-November of the same year. O’Brien dwells on the way Camus really goes to town on the evil repression of the Hungarian Uprising, and repeats in summary form the argument of The Rebel that communism is somehow uniquely and especially inhumane and violent. Camus tries here (as everywhere in his later writings) to be balance the two sides in the Cold War, to talk about two poles of repression. He goes out of his way to mention that the West, too, practices its oppressions and injustices, but he doesn’t even mention the stupid fiasco of Suez (another great triumph for French strategy and arms) and nowhere gives any sense that Western imperial repression was perceived as just as total and unjust as he thinks communist oppression. He can’t escape his Eurocentric point of view.

For O’Brien, although Camus continued for the last few years of his life with his ‘categorical and resonant’ defences of freedom, in practice he was now a right-wing apologist for the colonialist French government.

The Fall (1956) Camus’s third and final novel began life as a short story for the Exile and the Kingdom  volume. Like many of those stories it has a strong dreamlike quality, what with its fairy tale setting in a foggy, allegorical Amsterdam.

O’Brien brings out the centrality of Christian themes and imagery in this story of a successful society lawyer who loses his confidence, who comes to realise he is a fraud, who undergoes voluntary exile in Amsterdam and can only find release (like the Ancient Mariner) by buttonholing strangers and telling them his strange confession. (Having aligned Camus with the French colonialist government and now emphasising the essentially religious nature of his imaginative vision, for a moment I thought O’Brien might go on to predict that, given another 20 years, Camus might have turned into a crusty, right-wing French chauvinist and Catholic. But no.)

O’Brien says that, in contrast to the short stories of Exile and the Kingdom which are (mostly) hard and unrelenting, The Fall involves a return to irony, pleasure, mystery – the positive and enjoyable qualities of his two earlier novels. He has an interesting reason for this. He speculates it’s because the short stories – especially The Guest – dramatise Camus’s excruciating in the early 1950s, caught between two cultures and two irreconcilable armed camps. Whereas, by the time of The Fall a year or so later, Camus has to some extent reconciled himself to his position as an outsider from both sides.

Thus the Amsterdam of the novel is not only, in thematic terms, the anti-Algeria: foggy and wet to Algeria’s blazing sunshine. Its political significance derives from the narrator of The Fall‘s insistence that it is also like the Limbo of the theologians, neither heaven nor hell, a place outside time, a dream-place where one man sits condemned to tell his story over and again. It is the corner into which Camus has painted himself.


O’Brien heads towards the thundering conclusion that Camus’s political position was flawed and wrong. O’Brien believes that Sartre was right and if Camus had allied himself more equivocally with the Sartre group in criticising Western imperialism, much trouble in both Algeria, and then Vietnam, might have been avoided.

He seriously undermines the idea of Camus as some kind of secular saint, a hero of free speech and humanism. Instead, he sees Camus as the most representative voice of Western consciousness and conscience of his era, not because he was a great liberal, but because he had a crippled, fatal relationship to the colonised Third World.

Trying to do the right thing but according to an entirely Eurocentric set of values, incapable of understanding the rights and demands of the colonial peoples, putting up one impractical idea after another while all the while, in effect, acquiescing in the repressive policies of his government – and finally forced into a humiliating silence – he is the representatively troubled intellectual of the Great Decolonising Era, of the end of the European empires.

This is all brought out much more clearly in the title the book was given in America – Albert Camus of Europe and Africa. It is a grimly tragic view of the man and his stance, but I find it very persuasive, having myself noted the elimination of the Arab presence in his novels, the vehement anti-communism of The Rebel and the surprising presence of Christian themes and ideas throughout his work.

And it isn’t all negative. O’Brien also pays reverence to the strengths of his three flawed but haunting novels and, in particular, his deeply political interpretation of the man and his times lends a new depth and resonance to the short but haunting masterpiece, La Chute.


Camus (Modern Masters) by Conor Cruise O’Brien was published as part of the Fontana Modern Masters series in 1970. All quotes & references are to the 1976 paperback edition (which cost me 65p).

Related links

Reviews of other Camus books

Reviews of books by Jean-Paul Sartre

The Battle for France

The Algerian war of independence

The Rebel by Albert Camus (1951)

The logic of the rebel is to want to serve justice so as not to add to the injustice of the human condition, to insist on plain language so as not to increase the universal falsehood, and to wager, in spite of human misery, for happiness. (p.248)

Camus was already one of the leading writers of his day when he published his long philosophical essay, The Rebel: An Essay on Man in Revolt, in 1951. Many critics consider it his best and most important book. At 270 pages in this Penguin translation, The Rebel is well over twice the length of his previous essay, The Myth of Sisyphus. It is a very long recapitulation of the history of political violence from the French Revolution to Stalin’s show trials, designed to refute arguments for revolutionary violence or state terror, and to affirm positive, humanistic values.

But because it comes out of the French tradition it takes a long time to do all this, in sentences often convoluted with philosophical attitudinising and verbal paradox. It gives a lot more credence and leeway to the exponents of political violence than you’d expect – as the French left-wing tradition generally does.

Above all, it is framed in terms of Camus’s own rather personal ‘philosophy’ or vision or worldview of the Absurd. It attempts – despite what often seem like long detours into the works of Hegel or the meaning of the contemporary novel – to create one continuous logical argument which starts in Camus’s vision of the Absurd and ends with an (admittedly embattled) affirmation of humanism.

The Rebel’s place in Camus’s works

One of the introductions to Camus explains that while still in his twenties, he developed a Grand Plan for his writing career. He would consecutively address major topics or issues of the day – and depict each one via the differing formats of a novel, an essay and a play.

The first topic was his early philosophy of the Absurd, his semi-nihilistic belief in the absurdity of human existence which he developed during the late 1930s. The resulting ‘cycle of the Absurd’, the works which define and explore all its implications, are the essay The Myth of Sisyphus, the play Caligula and the novel The Outsider, all written about 1940.

10 years later, in his introduction to The Rebel, Camus is able to look back and describe The Myth of Sisyphus as being very much a response to its time, which he calls the ‘Age of Negation’. Not being a historian he doesn’t give precise dates but is presumably referring to the period between the wars with its pessimistic and even nihilistic political and philosophical culture – Spengler, Heidegger and so on. For Camus the central question of this period of ‘humiliated thought’ was whether life was worth living at all in a ‘godless universe’, epitomised in the issue of suicide. If there is no God, and life is meaningless, why go on? This is the central subject of the Myth of Sisyphus.

At the start of The Rebel, Camus says that now, in 1951, he and his readers are living in a new era, the post-Second World War era which he describes as ‘the Age of Ideologies’, an era which has seen the uprooting, enslavement and murder of some seventy million human beings, an era of:

slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman… (p.12)

Things have moved on from worrying about suicide. Now the central question of the day is whether we – whether anyone – has the right to murder their opponents. Is the widespread culture of political murder at all justified – because it is certainly the political culture of Europe.

Every dawn, masked assassins slip into some cell: murder is the problem today. (p.12)

Why murder?

How does that follow? Why is murder, and specifically political murder, worth writing a 270-page long essay?

Because in 1951 many leading intellectuals of the day, and organised workers’ parties all across Europe, saw the communist party as the only way out of the dead-end of failed capitalism, the only alternative to the bankrupt bourgeois values which had characterised the 1930s and which had been shattered to pieces during the unspeakable catastrophe of the world war.

Many intellectuals and a huge number of the working class joined the communist party and voted communist despite knowing that the revolution it calls for entails violence, suffering and death – in short, for political murder. Political murder is at the core of the communist revolution which so many of Camus’s contemporaries were calling for – so it really was a central and very pressing question: Can political murder ever be justified?

Camus’s answer is ‘No’. He reaches this conclusion through two routes: a purely philosophical argument about the nature of human existence, and via his long historical review which is designed to bring out the nihilism and murderous tendencies of all totalising revolutions, which he opposes to his own person concept of revolt or rebellion.

1. The philosophy of the Absurd validates all human life

To take the philosophical argument first, Camus sets out to make a philosophical case against political murder and for the sanctity of human life. To follow it we have to go back to his reflections on suicide, which he recaps early in The Rebel.

Camus’s notion of ‘the Absurd’ – that the universe is blankly indifferent to our longing for meaning and consolation – logically requires two components: the subjectivity which wishes for meaning, and the universe which is indifferent to it. Like two plus two makes four, both parts must be present for the equation to exist.

1. Now, to commit suicide would be irrational because it would remove part of the Absurd equation.

The final conclusion of absurdist reasoning is, in fact, the repudiation of suicide and the acceptance of the desperate encounter between human inquiry and the silence of the universe. Suicide would mean the end of this encounter, and absurdist reasoning considers that it could not consent to this without negating its own premises.

To say that life is absurd – one must first be alive.

Absurd reasoning thus recognises life, human life, as an irreplaceable component of the Absurd equation. Camus’s philosophy of the Absurd requires human life for it to exist. Human life is an irreducible requirement of Absurdity. You have to fully accept and buy into this premise to follow what comes next.

2. Because the moment it recognises this basic premise, Absurd reasoning also recognises the importance of all human life.

The moment life is recognised as a necessary good, it becomes so for all men…

Absurd reasoning validates all human lives.

3. Then Camus takes a big leap –

Murder and suicide are the same thing; one must accept them both or reject them both. (p.14)

His Absurd philosophy of revolt embraces all life. He is vehemently opposed to nihilistic thought because it not only tempts people to suicide – but by denying the importance of life it simultaneously tempts people to murder. If life has absolutely no meaning, not only suicide is possible, but murder, too.

You can see what he’s trying to do here – build the validation of all human life up from the pit of despair.

Going down into the depths of psychological anguish, into the blackest pit of suicidal misery, Camus grapples with the apparent ‘solution’ of suicide and rejects it – because suicide destroys the premise of the worldview which drove you to suicide in the first place. Committing suicide because of your sense of the Absurd would destroy the Absurd. It would be logically self-contradictory. And by recognising that life, human existence, is a vital component of the philosophy of the Absurd, you recognise that value for everyone – you acknowledge that all human life is vital.

And if you reject suicide – one form of the denial of life – you must also reject its fellow, its partner, its equal in denying the value of life. You must reject any form of murder.

(In the kind of tangential insight with which the book abounds, Camus points out that history provides many examples of the intimate link between suicide and mass murder. The example fresh in everyone’s minds in the post-war era was the way the mass murder of the Nazis culminated in the mass suicide of the Nazi leadership, huddled in their bunker, passing out the cyanide pills. Suicide and murder both stem from a profound negation of all human values. In the German language the connection is more obvious – the word for suicide is Selbstmord, literally meaning ‘self-murder’But Camus’s insight also made me think of all those people in our time who go on a killing spree at their local high school or shopping mall before turning their guns on themselves. Or the men who kill their wives and children and then themselves. Yes, many suicides may be solitary acts, but a certain number do seem to involve the nihilist deciding that they will – that they must – take out as many other people as possible before killing themselves.)

If Camus’s argument is a little hard to follow I think it’s because it is in many places more willed than really argued or thoroughly proved. But by repeating it again and again Camus wants to make it so, and it was only by reading it again and again, in numerous reformulations, that I began to accede to its emotional logic.

To repeat: The entire book is devoted to showing that from the ruins of a post-theological waste land, bereft of God or any transcendental source of moral values, Camus’s philosophy of the Absurd offers a reasoned, logical set of steps to help people affirm the value of their own lives – and then of everyone’s lives – and then to create a morality based on self-knowledge and a realistic assessment of the limits of human freedom and power.

2. A historical review of revolutionary nihilism

This philosophical argument is most clearly spelled out in the book’s first 20 pages (though he then invokes it repeatedly at key points throughout the text).

The next 250 pages are mostly devoted to a historical account designed to show how the revolutionary absolutism which stems from the Enlightenment – by overthrowing God and by claiming no limits to abstract ideas of human freedom, human virtue, human achievement or whatever – unwittingly undermine the practical freedoms of real flesh and blood people in the here and now. Camus goes back to the 18th century to examine the thought of a succession of European writers – thinkers as diverse as Hegel, Dostoyevsky or Nietzsche – having dispensed with God, struggled to identify an alternative source of ‘values’, and to define the nature of man’s freedom.

Camus’s review shows how, for thinker after thinker, this meant freedom from all restraints. But he shows how freedom from all restraints, a purely abstract and total concept of human freedom, tends to lead to freedom from respecting other people’s freedom. Ignoring the autonomy or rights of other people. It ends in tyranny.

Thus the Marquis de Sade takes the theory of personal sexual freedom to the limits and beyond, but discovers that his untamed appetites require an infinite number of men to torture and kill and women to use and destroy.

Similarly, Camus shows how the revolutionary Virtue of Saint-Just, the outspoken apologist for the French Revolutionary Terror, defeats itself. The Jacobins demanded an impossible level of ‘revolutionary’ purity from the people but instead found weakness and treachery everywhere, and was led to an downward spiral of violence, guillotining criminals and counter-revolutionaries by the cartload, in what became known as The Terror, until the people – or at least their political representatives – overthrew the Government of the Virtuous in the name of government of the practical – and the exponents of state execution – Saint-Just, Robespierre and their colleagues – were themselves executed by the unforgiving state they had created.

150 years later the Bolsheviks asserted that the proletariat must be led to freedom by a communist party, stripped of any sentimentality or bourgeois morality, which reserves the right to punish anyone hesitating or questioning its right to rule and lead humanity to its promised utopia. By identifying itself with the unstoppable force of History, the Party claims total control of human reality. Anyone questioning it must, of course, be eliminated.

And so his historical survey shows that:

All modern revolutions have ended in a reinforcement of the power of the State. 1789 brings Napoleon; 1848, Napoleon III; 1917, Stalin; the Italian disturbances of the twenties, Mussolini; the Weimar Republic, Hitler. (p.146)

The same logic which drives Stalinism, also drove Hitlerism – it is the attempt to place every single individual in a society under the control of one totalising value (History, the proletariat, the Volk, whatever).

The book really lifts off when it gives a long explanation of the preposterous totalising ambitions of the German philosopher Hegel – and then takes this criticism on into a devastating critique of Karl Marx and the Communist Parties he inspired.

This anti-Marx section is full of all sorts of insights and angles – I was particularly struck by the way Camus claims that lots of Marx’s insights were the common currency of his time: the economic analysis of capitalism had already been established by the bourgeois economist Ricardo; the appalling conditions of the industrial proletariat were copied from British Government reports; a blind belief in the power of an ever-improving science and technology to transform humanity was a truism among bourgeois propagandists of his day.

For Camus, Marx’s great failure was his vagueness, his changing opinions, his contradictory statements about the single most important element of his vast political philosophy – just how and when the dictatorship of the proletariat would end and the utopia of the classless society begin.

The lack of any definition on this crucial point in effect gives carte blanche to the communist party which leads the ‘revolution’ to rule forever. Also since – as he shows – almost all revolutionary regimes provoke or are subject to war (the French Revolutionary regime declared war on all the kings f Europe, the Commune of 1870 only occurred because of the Franco-Prussian War, the Russian Revolutionaries called for world revolution), they almost inevitably rule under the embattled conditions of wartime, which justify them in taking the most drastic security measures necessary. Forever.

Camus is echoing George Orwell’s vision of the totalitarian party of the future with its jackboot crushing a human face. Forever.

3. Camus opposes tyrannical revolution with his own idea of limited rebellion

Is there an alternative? Yes. For as the book progresses, in each of the detailed analyses of European thinkers, Camus distinguishes between the post-theological revolution, in the name of some Absolute Value, like Virtue or History or Das Volk, which is always bound to fail and end in repression – and his own, much more personal notion of revolt or rebellion against man’s fate, against the human condition and so on but which – crucially – respects the limits of the humanly possible.

If rebellion could found a philosophy it would be a philosophy of limits, of calculated ignorance, and of risk. (p.253)

Rebellion, by virtue of the way Camus has defined it, must acknowledge its limits and respect the freedom of others. Rebellion cannot give itself to any totalising ideology because it is a permanent tension, a permanent opposition to human fate and destiny, which also opposes all impositions on the human spirit.

Absolute revolution supposes the absolute malleability of human nature and its possible reduction to the condition of a historical force. But rebellion, in man, is the refusal to be treated as an object and to be reduced to simple historical terms. It is the affirmation of a nature common to all men, which eludes the world of power. History, undoubtedly, is one of the limits of man’s experience; in this sense the revolutionaries are right. But man, by rebelling, imposes in his turn a limit to history, and at this limit the promise of a value is born. It is the birth of this value that the Caesarian [i.e. communist] revolution implacably combats today because it presages its final defeat and the obligation to renounce its principles. The fate of the world is not being played out at present, as it seemed it would be, in the struggle between bourgeois production and revolutionary production; their end results will be the same. It is being played out between the forces of rebellion and those of the Caesarian revolution. The triumphant revolution must prove by means of its police, its trials, and its excommunications that there is no such thing as human nature. Humiliated rebellion, by its contradictions, its sufferings, its continuous defeats, and its inexhaustible pride, must give its content of hope and suffering to this nature. (p.216)

There are lots of ways of parsing this fundamental dichotomy (and Camus works through them with fascinating and sometimes bewildering thoroughness).

One key aspect, mentioned in the excerpt above, is that the totalitarians believe there is no such thing as human nature – that human beings are infinitely malleable and so can be turned into Model Workers (which Camus interprets as Unquestioning Slaves). By contrast, Camus asserts that there is such a thing as human nature and that at its core is revolt, revolt against the apparent futility of human destiny, against the apparent meaningless of life in a godless universe, revolt in favour of life.

(You can see how this would have alienated Camus’s ‘frenemy’, Jean-Paul Sartre, whose existentialism is based on exactly the opposite premise – that there is no human nature and that, as a result, everyone is ‘condemned’ to absolute freedom and that we all create ourselves with our free choices. We cannot blame any pre-existing human nature for limiting our decisions: our decisions are ours and ours alone to justify and bear.)

Camus continues that this personal revolt against death translates into the social value of rebellion, rebellion against any one totalising ideology which is imposed on it, and – consistent with its origin in the Absurd – rebellion against death in all its forms. Rebellion into life, if you like.

Another way of thinking about it is to address that old chestnut: Do the ends (a communist utopia in some remote future) justify the means (terrorising society in the here and now)?

As you might expect by now, Camus’s answer is a resolute No. He goes to great lengths in the long sections on Hegel and then Marx to demonstrate that both these German thinkers take the Absolute Value formerly attributed to Christian theology and reassign it to new entities: to the progress of the World Spirit in Hegel, or to Marx’s concept of History conceived of as an unstoppable machine moving through successive stages of social relationships up until the advent of capitalist society which will itself, with unstoppable inevitability, give rise to the revolution, the triumph of the proletariat and the End of History coinciding with Paradise for All.

The mistake of both of them, according to Camus, is to preserve the Totalising and Transcendent Value derived from Christianity and attribute it to utterly abstract, inhuman Ideas. With hideous inevitability, you end up sacrificing real people to an unreal inhuman Idea, an Idea (the end of history) which can never be attained because it isn’t real. This is another way of saying that communist repression would be, potentially, forever, because it is based on working towards an impossible Ideal which will never arrive.

Instead, argues Camus, you must start from a realistic assessment of fragile, limited, actual human nature which – for him – has at its irreducible core, this one notion, this movement, this gesture, this impulse, to revolt, to rebel against death in favour of life, to cling on, to survive, to battle and overcome.

A realistic political programme can only be based on this vision of mediating between countless conflicting wills. (Though he doesn’t say it explicitly, this is obviously a philosophical underpinning for the idea of democracy).

Back to ends and means. Camus very neatly says the question isn’t, ‘Does the end justify the means?’ Given that there is in fact no end – there is no ‘end of history’, no final revolution, no paradise and no utopia – the real question is, ‘Do the means justify the end?’

In other words, you should judge the (purely notional and maybe unattainable) outcomes of a political system by its effects here and now. In which case, the permanent terror state and political murder practiced by all the communist regimes is quite clearly the exact opposite of the freedom, peace, security and justice which they preach. Judged by their means – by the methods they are using, the values they are putting in practice in the here and now – whatever ‘end’ they claim to be holding on for cannot possibly be justified.

When the end is absolute, historically speaking, and when it is believed certain of realization, it is possible to go so far as to sacrifice others. When it is not, only oneself can be sacrificed, in the hazards of a struggle for the common dignity of man. Does the end justify the means? That is possible. But what will justify the end? To that question, which historical thought [communist theory] leaves pending, rebellion [Camus’s philosophy] replies: the means.

Reversing the usual order, Camus says the end itself – if deprived of some kind of supernatural underpinning, if deprived of the German ideological conviction that the end is the guaranteed moment when History comes to an end in the triumph of the World Spirit (Hegel) or the classless society (Marx) – if there is never in fact going to be an end — then all you are left with is the means. And if the means – the entire methodology of political murder and state terrorism – are rotten, then so are the ends.

He doesn’t say this but it occurs to me that the means are the ends, because there are no ends. History will never ‘end’. There will be no classless society or reign of the Just. It’ll just carry on in the same kind of way. Meanwhile, all we have is the means. The means is how we will be judged.

Conclusion of Camus’s argument against political murder

Camus’s philosophy of the Absurd insists on the value of human life. The individual’s revolt against the absurdity of the human condition transfers, on a social level, into men’s general rebellion against nihilistic systems of thought and against the vicious oppression which follows in their train.

History testifies, in fact, to the irreducible human spirit of rebellion throughout the ages.

But where this rebellion has turned into, or been commandeered by, the totalising and nihilistic values of revolution, it always ends in disaster – in war, state terror, torture and mass murder – in repressive regimes worse than the ones the revolutionaries set out to overthrow.

The philosophy of the Absurd – and the act of rebellion – by their very nature are against murder and political murder. They are not only for human life, they logically require human life to exist and to be respected.

Thus, via both his philosophical argument and his long review of European history, Camus hopes to demonstrate that human nature, and human values, will always revolt against the totalising oppression – and political terrorism – entailed by the inhuman absolutism of ideologically-driven ‘revolution’.

Although it begins as an ostensible investigation of the problem of political murder, this is where The Rebel ends up – as an impassioned defense of the fundamental human act of revolt against individual destiny and against social oppression. And this explains and justifies the title – L’Homme révolté.

(It’s a shame the force and power of the phrase L’Homme révolté is not really captured in the English translation of The Rebel. The literal translation of ‘The Revolted Man’ means something quite different. Revolutionary Man is the extreme opposite of what is intended, since the values of ‘revolution’ are portrayed throughout the book as the ultimate betrayal of humanity. Some editions of the book have a sub-title, Man in Revolt, which seems better to me than the nominal title.)

Earning the right

From our Anglo-Saxon point of view, it takes Camus 270 pages to arrive at a version of liberal humanism with a respect for universal human rights which many other people (for example, most Americans) never questioned to begin with.

So where’s the achievement?

Well, what made the book so important in its time was that it started out from absolutely nothing, from a crushing sense of the absurd meaninglessness of life – from the place of profound depression and moral devastation which afflicted many millions of Europeans after the horrors of the Second World War – and also takes account of the very real threat of the communist party, not only in Soviet-occupied Eastern Europe but in the West, in Italy and France in particular, imposing its rule by terror and political violence – it starts in a stricken and embattled place which is difficult for British and American readers to really appreciate — and then it claws its way on a long, difficult odyssey upwards, through the long litany of betrayal by European thinkers and revolutionaries, before finally arriving at these hard-won conclusions.

We believe that the truth of this age can be found only by living through the drama of it to the very end. If the epoch has suffered from nihilism, we cannot remain ignorant of nihilism and still achieve the moral code we need. No, everything is not summed up in negation and absurdity. We know this. But we must first posit negation and absurdity because they are what our generation has encountered and what we must take into account. (Resistance, Rebellion and Death, page 59)

The Rebel isn’t complacent. It earns its arrival at a morality of common decency. It has worked its passage.

Thus, although many readers may have fallen asleep during the detailed analyses of de Sade or Dostoyevsky, of the Russian Nihilists or Hegel’s theory of the Master and Slave – if they managed to make it to the end of the book they would be aware that they had been on a long journey across 200 years of nihilistic thought – but a journey of hope, a journey which assured them that common decency can be justified and established in the godless universe of the Absurd, in the post-war rubble, amid the clash of homicidal ideologies.

And so, despite its longueurs and its frequently impenetrable phraseology, The Rebel is a really moving and stirring call to human dignity and morality in a world seemingly hell-bent on destroying both.

Helen’s Exile

It is useful to read alongside The Rebel the essay Helen’s Exile, which is included in the Penguin edition of The Myth of Sisyphus. Written in 1948, Helen’s Exile gives a much pithier version of the central idea of The Rebel but starting from a different place, starting from a consideration of ancient Greek culture.

Camus points out that central to Greek thought was the idea of human limits: the Greek myths and legends are packed with cautionary tales of people who ignore or overstep these human limitations and are savagely punished for their hubris.

It is this self-knowledge of the Greeks, of the necessity of limiting our wishes, our freedoms and our actions in line with the recognised limits of human nature – contrary to the totalising tendency of modern ideologies which assert that human nature is a blank sheet to be written on at will by revolutionary dictators – which Camus thinks we have lost and must regain.

Admission of ignorance, rejection of fanaticism, the limits of the world and of man, the beloved face, and finally beauty – this is where we shall be on the side of the Greeks.

Discussion – a fragile argument

The entire argument, although it ranges widely over European philosophy and art of the last 200 years, is framed within the constraints of Camus’s own peculiar and very narrow theory of the Absurd. The crucial logic, the key explanation, is all dealt with in the first twenty pages or so:

The Absurd point of view logically leads to the rejection of suicide, because suicide negates the Absurd equation. Since suicide and murder are two sides of the same coin, rejection of suicide means rejection of murder. This rejection of suicide/murder is the bedrock of man’s revolt against the Absurd condition of life. And it is not only a NO to the godless universe but implies some kind of positive value in favour of which one is revolting/rebelling. Because as soon as one rebels against the Absurd condition – rejects suicide/murder and chooses life – one affirms the value of all human life.

Thus: Man’s Revolt against suicide/death is an affirmation of all human life everywhere.

And this revolt which is at the core of man’s being can never acquiesce in totalising revolutions which practice political murder in the name of abstract ideologies which claim to be able to erase and rewrite human nature. Human nature will always rebel.

Out of the depths of the Absurd comes an irrefutable affirmation of human life and a vehement rejection of any theory which denies it.

Good. Fine.

But all this is built on the idea that you accept Camus’s highly specific and, in the end, highly personal definitions of ‘the Absurd’ and of ‘Revolt’; and that you can follow the ‘logic’ of the arguments he extracts from them.

a) It’s unlikely that many, if any, of his readers really genuinely accept his very specific premises.
b) Every time I’ve reread and summarised the key passages in the book I’ve been very aware that several steps in the argument are willed rather than convincingly argued.

Possibly that’s why he made the book so long – because he hoped that by reiterating and rephrasing his claims, in the detailed analyses of a succession of great writers and of historical events, he would achieve by sheer repetition what he was uneasily aware was logically very fragile if stated clearly and briefly.

The sheer weight of text, its length, its numerous repetitions, and the repeated rephrasings of his humanist conclusions certainly do make for a stirring and inspiring read.

But beneath all the rhetoric, the philosophical analyses and the literary criticism, the fundamental, founding idea that suicide must be rejected because it negates one half of the Absurd equation (living human + indifferent universe = the Absurd), that murder is the same as suicide and so must similarly be rejected because it is illogical for a believer in the philosophy of the Absurd (and in ‘rebellion’) to abolish a key ground of their beliefs — these form an abstract, academic and very fragile basis on which to base an entire worldview and a complete political morality.


Although like-minded liberals warmly welcomed this elaborate endorsement of their views, the powerful mouthpieces of the French communist party, as well as many professional philosophers and intellectuals, came down on it like a ton of bricks. This was mostly because the book amounts to a sustained attack on communism and most French intellectuals of the time flirted with or became communists. But they were also able to focus their attacks on the fragility of its ‘philosophising’.

Camus had hoped to create a philosophical argument strong enough to lift Europe out of its despair; but the unrelentingly negative reactions to the book from the French intellectual élite, and their demolition of his philosophical arguments, plunged Camus into a personal depression. He never again tried to write a ‘philosophical’ work.

Only a few years later, in 1954, the Algerian War of Independence broke out and Camus found the well-spring of his creativity – his love for the harsh sensual beauty of his homeland – threatened in a new and unexpected way. The oppressed ‘natives’ of his homeland were enacting his narrative of revolt in a way he had completely missed from his long analysis of the contemporary political scene.

So, while the Paris intellectuals attacked his intellectual shortcomings, the Algerian revolutionaries undermined the basis of his creative vision: Camus was embattled from all sides. In the circumstances it is amazing that he managed to go on writing, creating the foggy allegory of The Fall and then the suite of passionate short stories collected in Exile and the Kingdom, as well as returning to his first love, the theatre, where passion and feeling are more important than clarity or logic.

Thus, amid very difficult political and personal circumstances, Camus did his best to explain and defend human freedom and dignity. It feels like a heroic achievement.

At the very end of The Rebel Camus’s argumentation gives way to the high poetic lyricism, to the sensuous imagery of fierce Mediterranean sunlight and the warm blue sea which are always lurking just beneath the surface of his writing. And to ancient Greece, where men knew the limits of themselves and their societies, and so were genuinely free.

At this meridian of thought, the rebel thus rejects divinity in order to share in the struggles and destiny of all men. We shall choose Ithaca, the faithful land, frugal and audacious thought, lucid action, and the generosity of the man who understands. In the light, the earth remains our first and our last love. Our brothers are breathing under the same sky as we; justice is a living thing. Now is born that strange joy which helps one live and die, and which we shall never again postpone to a later time. On the sorrowing earth it is the unresting thorn, the bitter brew, the harsh wind off the sea, the old and the new dawn. With this joy, through long struggle, we shall remake the soul of our time… (p.270)

(Amusingly, Conor Cruise O’Brien chooses just this quote as an example of ‘Camus’s most lamentable Mediterranean-solar-myth vein’ [Camus: Modern Masters p.56].)


L’Homme révolté by Albert Camus was published in France in 1951. This translation by Anthony Bower was published by Hamish Hamilton in 1953. All quotes & references are to the 1971 Penguin paperback edition.

Related links

Reviews of other Camus books

Reviews of books by Jean-Paul Sartre

The Algerian war of independence

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