* Beautifully illustrated with images relating to Schopenhauer’s life and works
* Concise introductions to the major treatises
* The complete essays, translated by T. Bailey Saunders in seven volumes, with individual contents tables
* Major works include their original hyperlinked footnotes – ideal for students
* Excellent formatting of the texts
* ‘The World as Will and Idea’ translated by R. B. Haldane and J. Kemp, in the much expanded sixth edition of 1909
* Special Essays alphabetical contents list – find the essay you want to read easily
* Features three biographies - explore Schopenhauer’s intriguing life
* Scholarly ordering of texts into chronological order
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ON THE FOURFOLD ROOT OF THE PRINCIPLE OF SUFFICIENT REASON
THE WORLD AS WILL AND IDEA
THE ART OF BEING RIGHT
ON THE WILL IN NATURE
ON THE BASIS OF MORALITY
WISDOM OF LIFE
COUNSELS AND MAXIMS
RELIGION: A DIALOGUE
THE ART OF LITERATURE
STUDIES IN PESSIMISM
ON HUMAN NATURE
THE ART OF CONTROVERSY
LIST OF ESSAYS IN ALPHABETICAL ORDER
SCHOPENHAUER by Thomas Whittaker
SCHOPENHAUER by Elbert Hubbard
ARTHUR SCHOPENHAUER by William Wallace
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As regards the rendering of the technical terms about which there has been so much controversy, the equivalents used have only been adopted after careful consideration of their meaning in the theory of knowledge. For example, “Vorstellung” has been rendered by “idea,” in preference to “representation,” which is neither accurate, intelligible, nor elegant. “Idee,” is translated by the same word, but spelled with a capital,—“Idea.” Again, “Anschauung” has been rendered according to the context, either by “perception” simply, or by “intuition or perception.”
Notwithstanding statements to the contrary in the text, the book is probably quite intelligible in itself, apart from the treatise “On the Fourfold Root of the Principle of Sufficient Reason.” It has, however, been considered desirable to add an abstract of the latter work in an appendix to the third volume of this translation.
Although everything that Schopenhauer wrote was written more or less as evidence to support his main philosophical thesis, his unifying philosophical principle, the essays in this volume have an interest, if not altogether apart, at least of a sufficiently independent interest to enable them to be considered on their own merits, without relation to his main idea. And in dissociating them, if one may do so for a moment (their author would have scarcely permitted it!), one feels that one enters a field of criticism in which opinions can scarcely vary. So far as his philosophy is concerned, this unanimity does not exist; he is one of the best abused amongst philosophers; he has many times been explained and condemned exhaustively, and no doubt this will be as many times repeated. What the trend of his underlying philosophical principal was, his metaphysical explanation of the world, is indicated in almost all the following essays, but chiefly in the "Metaphysics of Love," to which the reader may be referred.
These essays are a valuable criticism of life by a man who had a wide experience of life, a man of the world, who possessed an almost inspired faculty of observation. Schopenhauer, of all men, unmistakably observed life at first hand. There is no academic echo in his utterances; he is not one of a school; his voice has no formal intonation; it is deep, full-chested, and rings out its words with all the poignancy of individual emphasis, without bluster, but with unfailing conviction. He was for his time, and for his country, an adept at literary form; but he used it only as a means. Complicated as his sentences ...
The contents of this, as of the other volumes in the series, have been drawn from Schopenhauer's Parerga, and amongst the various subjects dealt with in that famous collection of essays, Literature holds an important place. Nor can Schopenhauer's opinions fail to be of special value when he treats of literary form and method. For, quite apart from his philosophical pretensions, he claims recognition as a great writer; he is, indeed, one of the best of the few really excellent prose-writers of whom Germany can boast. While he is thus particularly qualified to speak of Literature as an Art, he has also something to say upon those influences which, outside of his own merits, contribute so much to an author's success, and are so often undervalued when he obtains immediate popularity. Schopenhauer's own sore experiences in the matter of reputation lend an interest to his remarks upon that subject, although it is too much to ask of human nature that he should approach it in any dispassionate spirit.
In the following pages we have observations upon style by one who was a stylist in the best sense of the word, not affected, nor yet a phrasemonger; on thinking for oneself by a philosopher who never did anything else; on criticism by a writer who suffered much from the inability of others to understand him; on reputation by a candidate who, during the greater part of his life, deserved without obtaining it; and on genius by one who was incontestably of the privileged order himself. And whatever may be thought of some of his opinions on matters of detail—on anonymity, for instance, or on the question whether good work is never done for money—there can be no doubt that his general view of literature, and the conditions under which it flourishes, is perfectly sound.
It might be thought, perhaps, that remarks which were meant to apply to the German language would have but little bearing upon one so different from it as English. This would be a just objection if Schopenhauer treated literature in a petty spirit, and confined himself to pedantic inquiries into matters of grammar and etymology, or mere niceties of phrase. But this is not so. He deals with his subject broadly, and takes large and general views; nor can anyone who knows anything of the philosopher suppose this to mean that he is vague and feeble. It is true that now and again in the course of these essays he makes remarks which are obviously meant to apply to the failings of certain writers of his own age and country; but in such a case I have generally given his sentences a turn, which, while keeping them faithful to the spirit of the original, secures for them a less restricted range, and makes Schopenhauer a critic of similar faults in whatever age or country they may appear. This has been done in spite of a sharp word on page seventeen of this volume, addressed to translators who dare to revise their author; but the change is one with which not even Schopenhauer could quarrel.
In these pages I shall speak of The Wisdom of Life in the common meaning of the term, as the art, namely, of ordering our lives so as to obtain the greatest possible amount of pleasure and success; an art the theory of which may be calledEudaemonology, for it teaches us how to lead a happy existence. Such an existence might perhaps be defined as one which, looked at from a purely objective point of view, or, rather, after cool and mature reflection—for the question necessarily involves subjective considerations,—would be decidedly preferable to non-existence; implying that we should cling to it for its own sake, and not merely from the fear of death; and further, that we should never like it to come to an end.
Now whether human life corresponds, or could possibly correspond, to this conception of existence, is a question to which, as is well-known, my philosophical system returns a negative answer. On the eudaemonistic hypothesis, however, the question must be answered in the affirmative; and I have shown, in the second volume of my chief work (ch. 49), that this hypothesis is based upon a fundamental mistake. Accordingly, in elaborating the scheme of a happy existence, I have had to make a complete surrender of the higher metaphysical and ethical standpoint to which my own theories lead; and everything I shall say here will to some extent rest upon a compromise; in so far, that is, as I take the common standpoint of every day, and embrace the error which is at the bottom of it. My remarks, therefore, will possess only a qualified value, for the very wordeudaemonology is a euphemism. Further, I make no claims to completeness; partly because the subject is inexhaustible, and partly because I should otherwise have to say over again what has been already said by others.
The only book composed, as far as I remember, with a like purpose to that which animates this collection of aphorisms, is Cardan's De utilitate ex adversis capienda, which is well worth reading, and may be used to supplement the present work. Aristotle, it is true, has a few words on eudaemonology in the fifth chapter of the first book of his Rhetoric; but what he says does not come to very much. As compilation is not my business, I have made no use of these predecessors; more especially because in the process of compiling, individuality of view is lost, and individuality of view is the kernel of works of this kind. In general, indeed, the wise in all ages have always said the same thing, and the fools, who at all times form the immense majority, have in their way too acted alike, and done just the opposite; and so it will continue. For, as Voltaire says, we shall leave this world as foolish and as wicked as we found it on our arrival.
“Schopenhauer’s philosophy has had a special attraction for those who wonder about life’s meaning, along with those engaged in music, literature, and the visual arts.” —Stanford Encyclopedia of Philosophy
The Essential Schopenhauer delivers the first comprehensive English anthology of the seminal philosopher’s writings. Edited by Wolfgang Schirmacher, president of the International Schopenhauer Association, this indispensible collection affords readers a uniquely accessible gateway into the monolithic thinker’s prodigious body of work. Just as the Harper Perennial Basic Writings series renders the work of Heidegger and Nietzsche accessible for English readers, The Essential Schopenhauer gives us unprecedented access to the complex ideas of this profound and influential thinker.