- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
In the “Absurd Creation” chapter of The Myth of Sisyphus, Camus sets out why he thinks the creative life is the epitome of living with the absurd. He believes that the world has no inherent meaning and that creators, in building another world in their work, mimic this lack of meaning by creating its double. The creator thus paradoxically embraces the meaninglessness of the world by actively contributing to it. The idea of the artist holding up a mirror to the world stretches all the way back to the Ancient Greeks—the difference for Camus is that the only thing…