Arthur Schopenhauer Character Analysis

Let us express this new demand: we need a critique of moral values; the value of these values is for the first time to be called into question—and for this purpose it is necessary to know the conditions and circumstances under which these values grew, evolved and changed[.]

What is the meaning of ascetic ideals?

He suddenly realized that more could be effected by the novelty of the Schopenhauerian […] notion of the sovereignty of music, as Schopenhauer understood it; music set apart from and distinguished from all the other arts, music as the independent art-in-itself, not like the other arts, affording images of the phenomenal world, but rather speaking the language of the will itself, straight out of the ‘abyss,’ as its most personal, original and direct manifestation.

Schopenhauer has described one effect of the beautiful—the calming of the will—but is this effect the usual one?

Every animal […] strives instinctively after the most favourable conditions: those under which it can exert its full strength, and experience its greatest feeling of power; every animal also instinctively abhors (and with an acute sense ‘surpassing all reason’) any kind of disruption or hindrance which obstructs or could obstruct his path to this optimum (it is not his way to ‘happiness’ of which I speak, but his path to power, to action, the most powerful action, and in point of fact in many cases his way to misery).

We know the three great catch-words of the ascetic ideal: poverty, humility chastity; and if we look closely at the lives of all the great productive, creative intellects, we will find these present again and again, in some measure.

Let us express this new demand: we need a critique of moral values; the value of these values is for the first time to be called into question—and for this purpose it is necessary to know the conditions and circumstances under which these values grew, evolved and changed[.]

What is the meaning of ascetic ideals?

He suddenly realized that more could be effected by the novelty of the Schopenhauerian […] notion of the sovereignty of music, as Schopenhauer understood it; music set apart from and distinguished from all the other arts, music as the independent art-in-itself, not like the other arts, affording images of the phenomenal world, but rather speaking the language of the will itself, straight out of the ‘abyss,’ as its most personal, original and direct manifestation.

Schopenhauer has described one effect of the beautiful—the calming of the will—but is this effect the usual one?

Every animal […] strives instinctively after the most favourable conditions: those under which it can exert its full strength, and experience its greatest feeling of power; every animal also instinctively abhors (and with an acute sense ‘surpassing all reason’) any kind of disruption or hindrance which obstructs or could obstruct his path to this optimum (it is not his way to ‘happiness’ of which I speak, but his path to power, to action, the most powerful action, and in point of fact in many cases his way to misery).

We know the three great catch-words of the ascetic ideal: poverty, humility chastity; and if we look closely at the lives of all the great productive, creative intellects, we will find these present again and again, in some measure.