Studies in Pessimism - Arthur Schopenhauer (books like harry potter .TXT) 📗

being; it is part and parcel of every creature, and the permanent element in everything. Will, then, is that which we possess in common with all men, nay, with all animals, and even with lower forms of existence; and in so far we are akin to everything - so far, that is, as everything is filled to overflowing with will. On the other hand, that which places one being over another, and sets differences between man and man, is intellect and knowledge; therefore in every manifestation of self we should, as far as possible, give play to the intellect alone; for, as we have seen, the will is the common part of us. Every violent exhibition of will is common and vulgar; in other words, it reduces us to the level of the species, and makes us a mere type and example of it; in that it is just the character of the species that we are showing. So every fit of anger is something
common - every unrestrained display of joy, or of hate, or fear - in short, every form of emotion; in other words, every movement of the will, if it's so strong as decidedly to outweigh the intellectual element in consciousness, and to make the man appear as a being that
wills rather than knows .

In giving way to emotion of this violent kind, the greatest genius puts himself on a level with the commonest son of earth. Contrarily, if a man desires to be absolutely uncommon, in other words, great, he should never allow his consciousness to be taken possession of and dominated by the movement of his will, however much he may be solicited thereto. For example, he must be able to observe that other people are badly disposed towards him, without feeling any hatred towards them himself; nay, there is no surer sign of a great mind than that it refuses to notice annoying and insulting expressions, but straightway ascribes them, as it ascribes countless other mistakes, to the defective knowledge of the speaker, and so merely observes without feeling them. This is the meaning of that remark of Gracian, that nothing is more unworthy of a man than to let it be seen that he is one - el mayor desdoro de un hombre es dar muestras de que es hombre .

And even in the drama, which is the peculiar province of the passions and emotions, it is easy for them to appear common and vulgar. And this is specially observable in the works of the French tragic writers, who set no other aim before themselves but the delineation of the passions; and by indulging at one moment in a vaporous kind of pathos which makes them ridiculous, at another in epigrammatic witticisms, endeavor to conceal the vulgarity of their subject. I remember seeing the celebrated Mademoiselle Rachel as Maria Stuart: and when she burst out in fury against Elizabeth - though she did it very well - I could not help thinking of a washerwoman. She played the final parting in such a way as to deprive it of all true tragic feeling, of which, indeed, the French have no notion at all. The same part was incomparably better played by the Italian Ristori; and, in fact, the Italian nature, though in many respects very different from the German, shares its appreciation for what is deep, serious, and true in Art; herein opposed to the French, which everywhere betrays that it possesses none of this feeling whatever.

The noble, in other words, the uncommon, element in the drama - nay, what is sublime in it - is not reached until the intellect is set to work, as opposed to the will; until it takes a free flight over all those passionate movements of the will, and makes them subject of its contemplation. Shakespeare, in particular, shows that this is his general method, more especially in Hamlet. And only when intellect rises to the point where the vanity of all effort is manifest, and the will proceeds to an act of self-annulment, is the drama tragic in the true sense of the word; it is then that it reaches its highest aim in becoming really sublime.

* * * * *

Every man takes the limits of his own field of vision for the limits of the world. This is an error of the intellect as inevitable as that error of the eye which lets us fancy that on the horizon heaven and earth meet. This explains many things, and among them the fact that everyone measures us with his own standard - generally about as long as a tailor's tape, and we have to put up with it: as also that no one will allow us to be taller than himself - a supposition which is once for all taken for granted.

* * * * *

There is no doubt that many a man owes his good fortune in life solely to the circumstance that he has a pleasant way of smiling, and so wins the heart in his favor.

However, the heart would do better to be careful, and to remember what Hamlet put down in his tablets - that one may smile, and smile, and be a villain .

* * * * *

Everything that is really fundamental in a man, and therefore genuine works, as such, unconsciously; in this respect like the power of nature. That which has passed through the domain of consciousness is thereby transformed into an idea or picture; and so if it comes to be uttered, it is only an idea or picture which passes from one person to another.

Accordingly, any quality of mind or character that is genuine and lasting, is originally unconscious; and it is only when unconsciously brought into play that it makes a profound impression. If any like quality is consciously exercised, it means that it has been worked up; it becomes intentional, and therefore matter of affectation, in other words, of deception.

If a man does a thing unconsciously, it costs him no trouble; but if he tries to do it by taking trouble, he fails. This applies to the origin of those fundamental ideas which form the pith and marrow of all genuine work. Only that which is innate is genuine and will hold water; and every man who wants to achieve something, whether in practical life, in literature, or in art, must follow the rules without knowing them .

* * * * *

Men of very great capacity, will as a rule, find the company of very stupid people preferable to that of the common run; for the same reason that the tyrant and the mob, the grandfather and the grandchildren, are natural allies.

* * * * *

That line of Ovid's,

Pronaque cum spectent animalia cetera terram ,

can be applied in its true physical sense to the lower animals alone; but in a metaphorical and spiritual sense it is, alas! true of nearly all men as well. All their plans and projects are merged in the desire of physical enjoyment, physical well-being. They may, indeed, have personal interests, often embracing a very varied sphere; but still these latter receive their importance entirely from the relation in which they stand to the former. This is not only proved by their manner of life and the things they say, but it even shows itself in the way they look, the expression of their physiognomy, their gait and gesticulations. Everything about them cries out; in terram prona !

It is not to them, it is only to the nobler and more highly endowed natures - men who really think and look about them in the world, and form exceptional specimens of humanity - that the next lines are applicable;

Os homini sublime dedit coelumque tueri
Jussit et erectos ad sidera tollere vultus .

* * * * *

No one knows what capacities for doing and suffering he has in himself, until something comes to rouse them to activity: just as in a pond of still water, lying there like a mirror, there is no sign of the roar and thunder with which it can leap from the precipice, and yet remain what it is; or again, rise high in the air as a fountain. When water is as cold as ice, you can have no idea of the latent warmth contained in it.

* * * * *

Why is it that, in spite of all the mirrors in the world, no one really knows what he looks like?

A man may call to mind the face of his friend, but not his own. Here, then, is an initial difficulty in the way of applying the maxim, Know thyself .

This is partly, no doubt, to be explained by the fact that it is physically impossible for a man to see himself in the glass except with face turned straight towards it and perfectly motionless; where the expression of the eye, which counts for so much, and really gives its whole character to the face, is to a great extent lost. But co-existing with this physical impossibility, there seems to me to be an ethical impossibility of an analogous nature, and producing the same effect. A man cannot look upon his own reflection as though the person presented there were a stranger to him; and yet this is necessary if he is to take an objective view . In the last resort, an objective view means a deep-rooted feeling on the part of the individual, as a moral being, that that which he is contemplating is
not himself [1]; and unless he can take this point of view, he will not see things in a really true light, which is possible only if he is alive to their actual defects, exactly as they are. Instead of that, when a man sees himself in the glass, something out of his own egotistic nature whispers to him to take care to remember that it is no stranger, but himself, that he is looking at ; and this operates as a noli me tang ere , and prevents him taking an objective view. It seems, indeed, as if, without the leaven of a grain of malice, such a view were impossible.

[Footnote 1: