Man's Search for Meaning by Viktor Frankl

famous water color by Dürer), the same woods in which we had built an enormous, hidden munitions plant. One evening, when we were already resting on the floor of our hut, dead tired, soup bowls in hand, a fellow prisoner rushed in and asked us to run out to the assembly grounds and see the wonderful sunset. Standing outside we saw sinister clouds glowing in the west and the whole sky alive with clouds of ever-changing shapes and colors, from steel blue to blood red. The desolate grey mud huts provided a sharp contrast, while the puddles on the muddy ground reflected the glowing sky. Then, after minutes of moving silence, one prisoner said to another, “How beautiful the world
could
be!”
    Another time we were at work in a trench. The dawn was grey around us; grey was the sky above; grey the snow in the pale light of dawn; grey the rags in which my fellow prisoners were clad, and grey their faces. I was again conversing silently with my wife, or perhaps I was struggling to find the
rea- son
for my sufferings, my slow dying. In a last violent protest against the hopelessness of imminent death, I sensed my spirit piercing through the enveloping gloom. I felt it transcend that hopeless, meaningless world, and from somewhere I heard a victorious “Yes” in answer to my question of the existence of an ultimate purpose. At that moment a light was lit in a distant farmhouse, which stood on the horizon as if painted there, in the midst of the miserable grey of a dawning morning in Bavaria.
“Et lux in tenebris lucet”
—and the light shineth in the darkness. For hours I stood hacking at the icy ground. The guard passed by, insulting me, and once again I communed with my beloved. More and more I felt that she was present, that she was with me; I had the feeling that I was able to touch her, able to stretch out my hand and grasp hers. The feeling was very strong: she was
there
. Then, at that very moment, a bird flew down silently and perched just in front of me, on the heap of soil which I had dug up from the ditch, and looked steadily at me.
    Earlier, I mentioned art. Is there such a thing in a concentration camp? It rather depends on what one chooses to call art. A kind of cabaret was improvised from time to time. A hut was cleared temporarily, a few wooden benches were pushed or nailed together and a program was drawn up. In the evening those who had fairly good positions in camp—the Capos and the workers who did not have to leave camp on distant marches—assembled there. They came to have a few laughs or perhaps to cry a little; anyway, to forget. There were songs, poems, jokes, some with underlying satire regarding the camp. All were meant to help us forget, and they did help. The gatherings were so effective that a few ordinary prisoners went to see the cabaret in spite of their fatigue even though they missed their daily portion of food by going.
    During the half-hour lunch interval when soup (which the contractors paid for and for which they did not spend much) was ladled out at our work site, we were allowed to assemble in an unfinished engine room. On entering, everyone got a ladleful of the watery soup. While we sipped it greedily, a prisoner climbed onto a tub and sang Italian arias. We enjoyed the songs, and he was guaranteed a double helping of soup, straight “from the bottom”—that meant with peas!
    Rewards were given in camp not only for entertainment, but also for applause. I, for example, could have found protection (how lucky I was never in need of it!) from the camp’s most dreaded Capo, who for more than one good reason was known as “The Murderous Capo.” This is how it happened. One evening I had the great honor of being invited again to the room where the spiritualistic seance had taken place. There were gathered the same intimate friends of the chief doctor and, most illegally, the warrant offcer from the sanitation squad was again present. The