At this point of his effort man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world. This must not be forgotten. This must be clung to because the whole consequence of a life can depend on it. The irrational, the human nostalgia, and the absurd that is born of their encounter — these are the three characters in the drama that must necessarily end with all the logic of which an existence is capable.
Albert Camus
One does not discover the absurd without being tempted to write a manual of happiness. "What! — by such narrow ways — ?" There is but one world, however. Happiness and the absurd are two sons of the same earth. They are inseparable. It would be a mistake to say that happiness necessarily springs from the absurd. Discovery. It happens as well that the felling of the absurd springs from happiness.
Albert Camus
Kierkegaard is an Existentialist because he accepts, as fully as Sartre or Camus, the absurdity of the world. But he does not begin with the postulate of the non-existence of God, but with the principle that nothing in the world, nothing available to sense or reason, provides any knowledge or reason to believe in God. While traditional Christian theologians, like St. Thomas Aquinas, saw the world as providing evidence of God's existence, and also thought that rational arguments a priori could establish the existence of God, Kierkegaard does not think that this is the case. But Kierkegaard's conclusion about this could just as easily be derived from Sartre's premises. After all, if the world is absurd, and everything we do is absurd anyway, why not do the most absurd thing imaginable? And what could be more absurd than to believe in God? So why not? The atheists don't have any reason to believe in anything else, or really even to disbelieve in that, so we may as well go for it!
Soren Aabye Kierkegaard
The Theatre of the Absurd attacks the comfortable certainties of religious or political orthodoxy. It aims to shock its audience out of complacency, to bring it face to face with the harsh facts of the human situation as these writers see it. But the challenge behind this message is anything but one of despair. It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; precisely because there are no easy solutions to the mysteries of existence, because ultimately man is alone in a meaningless world. The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd does not provoke tears of despair but the laughter of liberation.
Martin Esslin
First, we must consider what soul is. It is, then, that by which the animate differs from the inanimate. The difference lies in motion, sensation, imagination, intelligence. Soul therefore, when irrational, is the life of sense and imagination; when rational, it is the life which controls sense and imagination and uses reason. The irrational soul depends on the affections of the body; it feels desire and anger irrationally. The rational soul both, with the help of reason, despises the body, and, fighting against the irrational soul, produces either virtue or vice, according as it is victorious or defeated.
Sallustius (or Sallust)
We are born, so to speak, twice over; born into existence, and born into life; born a human being, and born a man.
Jean-Jacques Rousseau
Camus, Albert
Canaris, Wilhelm
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