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Updated: June 13, 2025
These were the people that seemed to justify Schopenhauer's cynical contention concerning the economy of Nature, who invests youth with just enough transient beauty to ensure the perpetuation of the race, making men and women serve her purpose under the delusion that they are free agents and ministers to their own pleasure.
There is, accordingly, some justification in Schopenhauer's speculative assertion that music repeats the entire world of sense, and is a parallel method of expression of the underlying substance, or will.
The word immortality Unsterblichkeit does not occur in the original; nor would it, in its usual application, find a place in Schopenhauer's vocabulary. The word he uses is Unzerstörbarkeit indestructibility. But I have preferred immortality, because that word is commonly associated with the subject touched upon in this little debate. Thrasymachos.
Schopenhauer's proud injunction, indeed, that he who would understand his writings should prepare himself by a preliminary study of Plato or Kant, or of the divine wisdom of the Upanishads, indicates also paths that lead to the higher teaching of Wagner, and though in a less degree of Carlyle. The friendship of Tourgenieff and Flaubert rested upon speculative rather than on artistic sympathy.
In the first seven verses of this discourse, I cannot help seeing a gentle allusion to Schopenhauer's habits as a bon-vivant. For a pessimist, be it remembered, Schopenhauer led quite an extraordinary life. He ate well, loved well, played the flute well, and I believe he smoked the best cigars. What follows is clear enough. Par. 1.
The whole collection, winding up with the chapter of Counsels and Maxims, is in the main an unsystematic enforcement of those peculiar views of human happiness and its narrow limits which proved to be the most important part of Schopenhauer's system.
It is really a painful sight to see a fine old language, possessed of classical literature, being botched by asses and ignoramuses!" Thus Schopenhauer's holy anger cries out to us, and you cannot say that you have not been warned.
But reason is not identified by Schelling with self-conscious intelligence, for with the faith-philosophies and Romanticism he takes it in a wider sense; in physical and organic nature it is a slumbering reason, an unconscious, instinctive, purposive force similar to the Leibnizian monad, Schopenhauer's will, and Bergson's élan vital.
The intelligent reader will observe that much of the charm of Schopenhauer's writing comes from its strongly personal character, and that here he has to do, not with a mere maker of books, but with a man who thinks for himself and has no false scruples in putting his meaning plainly upon the page, or in unmasking sham wherever he finds it.
"The Will" is Schopenhauer's "Will," the vital principle. This is the aim of art, as it calls up pictures of the visible world and of the little temporary actions of men on its surface.
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