Camus is interested in Sisyphus' thoughts when marching down the mountain, to start anew. After the stone falls back down the mountain Camus states that "It is during that return, that pause, that Sisyphus interests me. A face that toils so close to stones is already stone itself! I see that man going back down with a heavy yet measured step toward the torment of which he will never know the end." This is the truly tragic moment, when the hero becomes conscious of his wretched condition. He does not have hope, but "there 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."
The play begins with an idiosyncratic juxtaposition: a chorus of children, against the Chorus of the play itself, comprised of old men from Thebes. This contradiction is later played out in the character of Teiresias, an old man (partially male and partially female in myth) led by a young boy. This immediately raises questions of past and future. These questions are especially important, considering that Sophocles’ deliberately begins his play approximately half-way through the Oedipus myth (see ‘The Oedipus Myth’). One of the ways in which of Oedipus’ unknown past is revealed to shape his future involves a continuation of his tragic lineage - his children turn out to be, in bizarre, self-consuming fashion, the same generation as him.