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Gilbert Keith Chesterton

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The insistence of the Christian doctrine on man’s limited condition was somehow enough of a philosophy to allow it’s adherents a very deep insight into the essential inhumanity of all those modern attempts – psychological, technical, biological – to change man into the monster of superman. They [Chesterton] realized that a pursuit of happiness which actually means to wipe away all tears will pretty quickly end by wiping out all laughter. It was again Christianity which taught them that nothing human can exist beyond tears and laughter, except the silence of despair.
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Hannah Arendt, commenting on Chesterton and Péguy in “Christianity and Revolution”, in Hannah Arendt, Essays in Understanding, 1930-1954, ed. Jerome Kohn (New York: Harcourt Brace, 1994), p. 154.

 
Gilbert Keith Chesterton

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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.

 
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Laughter is the Wild Body's song of triumph.
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6. Laughter is the emotion of tragic delight.
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Tears, idle tears, I know not what they mean,
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Rise in the heart, and gather to the eyes,
In looking on the happy Autumn-fields,
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Tears and laughter, they are so much Gaelic to me.

 
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