 Obviously, Camus’s sense of happiness is not a conventional one but Sagi argues it may place him closer to Aristotle than to any other thinker insofar as he is championing the full realization of human capacities (Sagi 2002, 79–80) Camus is also similar in this to Nietzsche, who called upon his readers to “say yes to life,” and live as completely as possible at every moment. Nietzsche’s point was that to be wholly alive means being as aware of the negative as of the positive, feeling pain, not shunning any experience, and embracing life “even in its strangest and hardest problems” (Nietzsche 1888/1954, 562). But how is it possible that, by the end of The Myth of Sisyphus, Camus has moved from skepticism (about finding the truth) and nihilism (about whether life has meaning) to advocating an approach to life that is clearly judged to be better than others? How does he justify embracing a normative stance, affirming specific values? This contradiction reveals a certain sleight of hand, as the philosopher gives way to the artist. It is as an artist that Camus now makes his case for acceptance of tragedy, the consciousness of absurdity, and a life of sensuous vitality. He advocates this with the image of Sisyphus straining, fully alive, and happy.