Drama assumes an order. If only so that it might have – by disrupting that order – a way of surprising.
By perceiving ourselves as part of the river, we take responsibility for the river as a whole.
I cannot imagine that I could strive for something if I did not carry hope in me.
I am not an optimist, because I am not sure that everything ends well. Nor am I a pessimist, because I am not sure that everything ends badly. I just carry hope in my heart.
Without free, self-respecting, and autonomous citizens there can be no free and independent nations.
I have found that good taste, oddly enough, plays an important role in politics. Why is it like that? The most probable reason is that good taste is a visible manifestation of human sensibility toward the world, environment, people.
The worst thing is that we live in a contaminated moral environment. We fell morally ill because we became used to saying something different from what we thought. Concepts such as love, friendship, compassion, humility or forgiveness lost their depth and dimension.
People who live in the post-totalitarian system know only too well that the question of whether one or several political parties are in power, and how these parties define and label themselves, is of far less importance than the question of whether or not it is possible to live like a human being.
Without commonly shared and widely entrenched moral values and obligations, neither the law, nor democratic government, nor even the market economy will function properly.
Man is not an omipotent master of the universe, allowed to do with impunity whatever he thinks, or whatever suits him at the moment. The world we live in is made of an immensely complex and mysterious tissue about which we know very little and which we must treat with utmost humility.
Communism was overthrown by life, by thought, by dignity.
In any case, ideals are something we strive for; they are somewhere on the horizon of our efforts; they provide meaning and direction; they are not, however, static quotas that we either fulfill or do not.
If one were required to increase the dramatic seriousness of his face in relation to the seriousness of the problems he had to confront, he would quickly petrify and become his own statue.
There can be no doubt that distrust of words is less harmful than unwarranted trust in them. Besides, to distrust words, and indict them for the horrors that might slumber unobtrusively within them – isn’t this, after all, the true vocation of the intellectual?
The role of the writer is not simply to arrange Being according to his own lights; he must also serve as a medium to Being and remain open to its often unfathomable dictates. This is the only way the work can transcend its creator and radiate its meaning.
Even a purely moral act that has no hope of any immediate and visible political effect can gradually and indirectly, over time, gain in political significance.
Without the constantly living and articulated eperience of absurdity, there would be no reason to attempt to do something meaningful. And on the contrary, how can one experience one’s own absurdity if one is not constantly seeking meaning?
The attempt to devote oneself to literature alone is a most deceptive thing, and often, paradoxically, it is literature that suffers for it.
I have read somewhere that in a totalitarian system martyrdom does better than thought.
Time and time again I have been persuaded that a huge potential of goodwill is slumbering within our society. It’s just that it’s incoherent, suppressed, confused, crippled and perplexed.
You do not become a ″dissident″ just because you decide one day to take up this most unusual career. You are thrown into it by your personal sense of responsibility, combined with a complex set of external circumstances. You are cast out of the existing structures and placed in a position of conflict with them. It begins as an attempt to do your work well, and ends with being branded an enemy of society.