“The reasonable man adapts himself to the world: the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man.”

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 35.

Quoted in: Anna Moszynska, Abstract Art, Thames and Hudson, London, 1990, p. 66
Attributed from posthumous publications

The Myth of Sisyphus (1942), An Absurd Reasoning
Context: At this point of his effort man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world. This must not be forgotten. This must be clung to because the whole consequence of a life can depend on it. The irrational, the human nostalgia, and the absurd that is born of their encounter — these are the three characters in the drama that must necessarily end with all the logic of which an existence is capable.

Nur wer einig ist mit der Welt kann einig seyn mit sich selbst.
“Ideas,” Lucinde and the Fragments, P. Firchow, trans. (1991), § 130

Characterizations of Existentialism (1944)

The Overman Culture (1971)

The Overman Culture (1971)

Part Two: 2. The Transcendence of Delirium
History of Madness (1961)
Context: To say that madness is dazzlement is to say that the madman sees the day, the same day that rational men see, as both live in the same light, but that when looking at that very light, nothing else and nothing in it, he sees it as nothing but emptiness, night and nothingness. Darkness for him is another way of seeing the day. Which means that in looking at the night and the nothingness of the night, he does not see at all. And that in the belief that he sees, he allows the fantasies of his imagination and the people of his nights to come to him as realities. For that reason, delirium and dazzlement exist in a relation that is the essence of madness, just as truth and clarity, in their fundamental relation, are constitutive of classical reason.
In that sense, the Cartesian progression of doubt is clearly the great exorcism of madness. Descartes closes his eyes and ears the better to see the true light of the essential day, thereby ensuring that he will not suffer the dazzlement of the mad, who open their eyes and only see night, and not seeing at all, believe that they see things when they imagine them. In the uniform clarity of his closed senses, Descartes has broken with all possible fascination, and if he sees, he knows he really sees what he is seeing. Whereas in the madman’s gaze, drunk on the light that is night, images rise up and multiply, beyond any possible self-criticism, since the madman sees them, but irremediably separated from being, since the madman sees nothing.
Unreason is to reason as dazzlement is to daylight.