Perseus, Daedalus, & Ostracism: A Revisitation of Greek Mythology

A common motif within the genre of Greek mythology, beyond Camus' inferred theory of Sisyphus' existentialism, are the perils of ostracism and exile. Behind stories of gorgons and sphinxes lies a very genuine fear of not only the other, but of being the other. Those characters which commit sins too great to forgive or hold powers too great for the good of humanity often end up cast off from Greek society, much as Meursault ends up socially and legally banished at the end of the story. The dread of isolation from civilization is one universally shared through the ages, its consequences and implications stressed throughout all of human existence.

In Greek mythology, exile is often regarded as the ultimate condemnation of the living, sometimes painted as a punishment more severe than death. In the story of Daedalus (post-Icarus), the inventor has a new apprentice by the name of Talos. Talos soon proves himself some kind of miracle craftsmen as he spontaneously invents the saw and compass. Bitter, old Daedalus quickly gets jealous that his twelve-year-old nephew can best him in inventing, and, naturally, pushes him to his death from the top of the Acropolis. Athens deems this behavior on Daedalus' part as more than deserving of a time-out, and he is promptly banished from the city. 

In a slightly contrary vein, Perseus is a widely acclaimed Greek hero who began his path with exile. His mother, Danae, was impregnated with him by Zeus himself (big surprise). Danae's father Acrisius is alerted of this instance and also informed that little fetus Perseus will one day kill him. Without batting an eye, baby Perseus and Danae are thrown into a chest and thrown into the ocean.

In both these myths, the subjects are exiled with reasoning entirely justified by fear. People tend to fear that which threatens physical danger or which is incomprehensible in ideology or magnitude. Yes, Meursault did shoot and kill someone, and his death sentence can most definitely be attributed to this obvious fact. However, Camus stresses more the importance of Meursault's social and emotional separation from the society which condemns him. Meursault is condemned as Camus says "because he did not play the game." People fear both his crime (as with Daedalus) and, arguably more importantly, his incomprehensible lack of empathy and compassion (a concept more akin to Perseus' godly power). 

The ending of the book is perhaps the most telling section, in which we get not the details of death or ascension, but a passing 'hope' from the narrator that he be greeted at his execution by a crowd which hates him. In these words, Camus abolishes meaning in even the Greeks' 'fate worse than death;' ostracism is rendered just another fabricated system which the human race blindly follows.