Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 13, 2025
Wagner was no philosopher, though he found in Schopenhauer's Will to Live, and its Renunciation, material which he could use for poetic and dramatic purposes. The "lessons" which many ingenious persons find here are not lessons at all, but the ground-facts on which the drama is based.
In Goethe's diary Schopenhauer's name frequently occurs, and on the 24th November 1813 he wrote to Knebel: "Young Schopenhauer is a remarkable and interesting man.... I find him intellectual, but I am undecided about him as far as other things go." A few days later Goethe wrote to the distinguished scientist, Dr. Seebeck, asking him to read the work.
The full significance of both melody and rhythm depends, however, upon their interrelation, the concrete musical structure, the motive or melody in the complete sense, being an indissoluble unity of both. Now if we take the term will with a broad meaning, Schopenhauer's characterization of melody as an image of the will still remains the truest aesthetic interpretation of it.
Think of the annoyance of perpetually looking after any one, especially a woman! Besides, marriage is antagonistic to my ideal. You say that no ideal illumines the pessimist's life, that if you ask him why he exists, he cannot answer, and that Schopenhauer's arguments against suicide are not even plausible causistry. True, on this point his reasoning is feeble and ineffective.
"We may be in the Universe as dogs and cats are in our libraries, seeing the books and hearing the conversation, but having no inkling of the meaning of it all." WILLIAM JAMES, A Pluralistic Universe "... A man's vision is the great fact about him. Who cares for Carlyle's reasons, or Schopenhauer's, or Spencer's?
There are no analphabets to be found among them; all the more, however, of those who, besides their rifle, have their Goethe's "Faust," their "Zarathustra," a work of Schopenhauer's, the Bible, or their Homer in their knapsacks. And even those who have no book in the knapsack know that they are fighting for a hearth at which every guest is welcome.
But Schopenhauer's doctrine of Negation of Will or Nirvana for it is identical with that of Buddhism is a negation of existence itself absolutely.
The essays in this volume form part of the corollary; they are taken from a collection published towards the close of Schopenhauer's life, and by him entitled Parerga und Paralipomena, as being in the nature of surplusage and illustrative of his main position. They are by far the most popular of his works, and since their first publication in 1851, they have done much to build up his fame.
This ascetic tendency, incidentally part of chastisement and acquired resignation, one can trace in every investigation of the value and meaning of the Drama, though in different forms. The avenging Nemesis, always at the heels of the sinner, may be placated by means of rigid self-control and self-denial. This, too, was Schopenhauer's idea of the Drama.
It strikes us that he suffers perhaps a little from a hereditary taint, for we know that there is an unmistakable predisposition to hypochondria in his family; we know, for instance, that his paternal grandmother became practically insane towards the end of her life, that two of her children suffered from some sort of mental incapacity, and that a third, Schopenhauer's father, was a man of curious temper and that he probably ended his own life.
Word Of The Day
Others Looking