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Human life must be some kind of mistake. The truth of this will be sufficiently obvious if we only remember that man is a compound of needs and necessities hard to satisfy; and that even when they are satisfied, all he obtains is a state of painlessness, where nothing remains to him but abandonment to boredom.
In the final act of the play of the same name, he concludes his “tomorrow, and tomorrow, and tomorrow” monologue by describing life as “a tale told by an idiot, full of sound and fury, signifying nothing.” Anton Chekhov portrayed nihilism when writing Three Sisters. The phrase "what does it matter" or variants of this are often spoken ...
Amor fati is a Latin phrase that may be translated as "love of fate" or "love of one's fate".It is used to describe an attitude in which one sees everything that happens in one's life, including suffering and loss, as good or, at the very least, necessary.
For Andrew Garfield, the script for We Live in Time couldn’t have come at a more perfect moment in his life. “When I read [the script], I was in deep contemplation of the meaning of life. As ...
The proposition that existence precedes essence (French: l'existence précède l'essence) is a central claim of existentialism, which reverses the traditional philosophical view that the essence (the nature) of a thing is more fundamental and immutable than its existence (the mere fact of its being). [1]
…it is possible that one thing in relation to another may be evil, and at the same time within the limits of its proper being it may not be evil. Then it is proved that there is no evil in existence; all that God created He created good. This evil is nothingness; so death is the absence of life. When man no longer receives life, he dies.
Accustom yourself to believing that death is nothing to us, for good and evil imply the capacity for sensation, and death is the privation of all sentience; therefore, a correct understanding that death is nothing to us makes the mortality of life enjoyable, not by adding to life a limitless time, but by taking away the yearning after immortality.
Ten years after clinching Cannes Critics’ Week Grand Prize with “Aquí y allá,” and half a decade following “Life and Nothing More,” which earned a John Cassavetes Award at the ...