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“...if love...is a function of man's sadness, friendship is a function of his cowardice; and if neither can be realised because of the impenetrability (isolation) of all that is not 'cosa mentale,' at least the failure to possess may have the nobility of that which is tragic, whereas the attempt to communicate where no communication is possible is merely a simian vulgarity, or horribly comic, like the madness that holds a conversation with the furniture. - For an artist therefore, the only possible spiritual development is in the sense of depth. The artistic tendency is not expansive, but a contraction. And art is the apotheosis of solitude. There is no communication because there are no vehicles of communication.”
Martin Esslin, The Theater of the Absurd
“The dignity of man lies in his ability to face reality in all its meaninglessness.” .”
Martin Esslin
“The Theatre of the Absurd is a theatrical embodiment and manifestation of existentialism”
Martin Esslin
“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.”
Martin Esslin, Absurd drama (Penguin plays) - Amedee, Professor Taranne, Two

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