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The basis of the argument is the recognition that sentient organisms — animals — are embodied and inhabit specific niches in the environment. They struggle for their self-preservation; striving to satisfy wants is the essence of all organic life. But all striving, Schopenhauer argues, involves suffering.
During the final years of Schopenhauer's life and subsequent years after his death, post-Schopenhauerian pessimism became a popular trend in 19th-century Germany. [66] Nevertheless, it was viewed with disdain by the other popular philosophies at the time, such as Hegelianism, materialism, neo-Kantianism and the emerging positivism.
But most of all Schopenhauer is famous for his influence on artists. Richard Wagner became one of the earliest and most famous adherents of the Schopenhauerian philosophy. [152] The admiration was not mutual, and Schopenhauer proclaimed: "I remain faithful to Rossini and Mozart!" [153] So he has been nicknamed "the artist's philosopher". [1]
Schopenhauer claimed that art provides knowledge of eternal Platonic Ideas and also results in temporary relief from the pressures of willing. Arthur Schopenhauer's aesthetics result from his philosophical doctrine of the primacy of the metaphysical Will as the Kantian thing-in-itself, the ground of life and all being
In the English language, this work is known under three different titles. Although English publications about Schopenhauer played a role in the recognition of his fame as a philosopher in later life (1851 until his death in 1860) [4] and a three volume translation by R. B. Haldane and J. Kemp, titled The World as Will and Idea, appeared already in 1883–1886, [5] the first English translation ...
The critics wrote that the book is at its best when it describes scenes from Schopenhauer's life, but is too sweeping when it portrays his intellectual milieu, and commits outright errors by omitting subjects such as the pantheism controversy and the impacts of Baruch Spinoza, Friedrich Heinrich Jacobi and Gottlob Ernst Schulze.
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In the following years, Schopenhauer succeeded in publishing new editions of all his previous work on the strength of the revived interest, although his plans for a revised edition of Parerga and Paralipomena were stymied by the deterioration of his health in the months preceding his death in 1860.