A sense of humor is a measurement of the extent to which we realize that we are trapped in a world almost totally devoid of reason. Laughter is how we express the anxiety we feel at this knowledge.
--
Originally published in "Encyclopedia Tropicana: A Reference Book for the Modern World, Volume 1" by Joel Achenbach, The Miami Herald, May 4, 1986; quoted by Bryan Curtis, "Dave Barry: Elegy for the humorist," Slate, January 12, 2005Dave Barry
The American public highly overrates its sense of humor. We're great belly laughers and prat fallers, but we never really did have a real sense of humor. Not satire anyway. We're a fatheaded, cotton-picking society. When we realize finally that we aren't God's given children, we'll understand satire. Humor is really laughing off a hurt, grinning at misery.
Bill Mauldin
Danja: "She was cool. She had a dark sense of humor that I can’t explain. She might just say something crazy that you might feel is out of line. But it’s not. It’s just her sense of humor. She was in the studio chilling with us, being open and the whole nine."
Madonna
Danja: "She was cool. She had a dark sense of humor that I can’t explain. She might just say something crazy that you might feel is out of line. But it’s not. It’s just her sense of humor. She was in the studio chilling with us, being open and the whole nine."
Madonna Ciccone
When it is stated in Genesis that God said to Adam, “Only from the tree of the knowledge of good and evil you must not eat,” it follows as a matter of course that Adam really has not understood this word, for how could he understand the difference between good and evil when this distinction would follow as a consequence of the enjoyment of the fruit. When it is assumed that the prohibition awakens the desire one acquires knowledge instead of ignorance, and in that case Adam must have had knowledge of freedom, because the desire was to use it. The explanation is therefore subsequent. The prohibition induces in him anxiety, for the prohibition awakens in him freedom’s possibility. What passed by innocence as the nothing of anxiety has now entered into Adam, and here again it is a nothing-the anxious possibility of being able. He has no conception of what he is able to do; otherwise-and this it what usually happens-that which comes later, the difference between good and evil, would have to be presupposed. Only the possibility of being able is present as a higher form of ignorance, as a higher expression of anxiety, because in a higher sense it both is and is not, because in a higher sense he both loves it and flees from it. The Concept of Anxiety p. 44-45
Soren Aabye Kierkegaard
... anxiety is a reflection, and in this respect is essentially different than sorrow. Anxiety is the organ by which the subject appropriates sorrow and assimilates it. Anxiety is the energy of the movement by which sorrow bores its way into one’s heart. But the movement is not swift like the thrust of a dart, it is successive; it is not once for all, but it is constantly continuing. As a passionate, erotic glance desires its object, so anxiety looks upon sorrow to desire it. As the quiet, incorruptible glance of love is preoccupied with the beloved object, so anxiety occupies itself with sorrow. But anxiety has another element in it which makes it cling even more strongly to its object, for it both loves it and fears it. Anxiety has a two-fold function. Partly it is the detective instinct which constantly touches, and by means of this probing, discovers sorrow, as it goes round about the sorrow. Or anxiety is sudden, posits the whole sorrow in the present moment, yet so that this present moment instantly dissolves in succession. Anxiety is in this sense a truly tragic category, and the old saying: quem deus vult perdere, primum dementat, (whom God wishes to destroy, he first makes insane) in truth rightly applies here. That anxiety is determined by reflection is shown by our use of words; for I always say: to be anxious about something, by which I separate the anxiety from that about which I am anxious, and I can never use anxiety in an objective sense; whereas, on the contrary, when I say “my sorrow,” it can just as well express that which I sorrow over, as my sorrow over it. In addition, anxiety always involves a reflection upon time, for I cannot be anxious about the present, but only about the future; but the past and the future, so resisting one another that the present vanishes, are reflective determinations.
Soren Aabye Kierkegaard
Barry, Dave
Barry, Marion
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z