It was in Spain that [my generation] learned that one can be right and yet be beaten, that force can vanquish spirit, that there are times when courage is not its own recompense. It is this, doubtless, which explains why so many, the world over, feel the Spanish drama as a personal tragedy.

To lose one's life is no great matter; when the time comes I'll have the courage to lose mine. But what's intolerable is to see one's life being drained of meaning, to be told there's no reason for existing. A man can't live without some reason for living.

Many fledgling moralists in those days were going about our town proclaiming there was nothing to be done about it and we should bow to the inevitable. And Tarrou, Rieux, and their friends might give one answer or another, but its conclusion was always the same, their certitude that a fight must be put up, in this way or that, and there must be no bowing down... There was nothing admirable about this attitude; it was merely logical.

I said that the world is absurd, but I was too hasty. This world in itself is not reasonable, that is all that can be said. But what is absurd is the confrontation of this irrational and the wild longing for clarity whose call echoes in the human heart.

No, Father, I've a very different idea of love. And until my dying day I shall refuse to love a scheme of things in which children are put to torture.

People don't love each other at our age, Marthe—they please each other, that's all. Later on, when you're old and impotent, you can love someone. At our age, you just think you do. That's all it is.

The mind's deepest desire, even in its most elaborate operations, parallels man's unconscious feeling in the face of his universe: it is an insistence upon familiarity, an appetite for clarity.