The everyday man does not enjoy tarrying. Everything, on the contrary, hurries him onward. But at the same time nothing interests him more than himself, especially his potentialities. Whence his interest in the theater, in the show, where so many fates are offered him, where he can accept the poetry without feeling the sorrow. There at least can be recognized the thoughtless man, and he continues to hasten toward some hope or other. The absurd man begins where that one leaves off, where, ceasing to admire the play, the mind wants to enter in. Entering into all these lives, experiencing them in
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