Reductio ad absurdum

[1][2][3][4] This argument form traces back to Ancient Greek philosophy and has been used throughout history in both formal mathematical and philosophical reasoning, as well as in debate.

The earliest example of a reductio argument can be found in a satirical poem attributed to Xenophanes of Colophon (c. 570 – c. 475 BCE).

[6] The technique was also a focus of the work of Aristotle (384–322 BCE), particularly in his Prior Analytics where he referred to it as demonstration to the impossible (Ancient Greek: ἡ εἰς τὸ ἀδύνατον ἀπόδειξις, lit.

[12] Much of Madhyamaka Buddhist philosophy centers on showing how various essentialist ideas have absurd conclusions through reductio ad absurdum arguments (known as prasaṅga, "consequence" in Sanskrit).

In the Mūlamadhyamakakārikā, Nāgārjuna's reductio ad absurdum arguments are used to show that any theory of substance or essence was unsustainable and therefore, phenomena (dharmas) such as change, causality, and sense perception were empty (sunya) of any essential existence.

Nāgārjuna's main goal is often seen by scholars as refuting the essentialism of certain Buddhist Abhidharma schools (mainly Vaibhasika) which posited theories of svabhava (essential nature) and also the Hindu Nyāya and Vaiśeṣika schools which posited a theory of ontological substances (dravyatas).

Aristotle clarified the connection between contradiction and falsity in his principle of non-contradiction, which states that a proposition cannot be both true and false.

A bearded white Christian cleric in red argues towards an older pensive white Christian cleric in black.
Reductio ad absurdum , painting by John Pettie exhibited at the Royal Academy in 1884