Christopher Janaway

Olga Plümacher (1839–1895) published a book entitled Der Pessimismus in Vergangenheit und Gegenwart in 1884. It was an influential book: Nietzsche owned a copy, and there are clear cases where he borrowed phraseology from Plümacher. Plümacher specifies philosophical pessimism as comprising two propositions: ‘The sum of displeasure outweighs the sum of pleasure’ and ‘Consequently the non-being of the world would be better than its being’. Plümacher cites Schopenhauer as the first proponent of this position, and Eduard von Hartmann as the thinker who has developed it to its fullest potential. She heavily criticizes Schopenhauer in many respects, not for being a pessimist, but rather for not achieving as good a pessimism as he might have done, on the following major grounds: that his account of pleasure as merely privative is implausible, that he has a confused account of individuation, that his retention of a Christian notion of guilt is gratuitous, that he lapses into the self-pitying subjectivity of the condition she calls Weltschmerz, and that his philosophy leads to quietism, and is thus inferior to von Hartmann’s combination of pessimism and optimism, which allows for social progress.

The article argues for the following interpretation of Plato's dialogue Ion. (1) the dialogue is designed primarily to refute Ion's claims to knowledge in his discourse about Homer—i.e. in his role as critic or eulogist of Homer; (2) as regards the rhapsode as performer and as regards the poet, it is especially the fineness of their output that cannot be explained by way of techne; and (3) Plato genuinely assumes the existence of poetic and rhapsodic technai. Points (2) and (3) are compatible. It is merely that excercising a techne is not the basis of artistic success (as we would now call it). The article argues that this reading gives the dialogue greater unity and philosophical plausibility than readings that deny any techne at all to either rhapsode or poet.

First published in 1818, The World as Will and Representation contains Schopenhauer's entire philosophy, ranging through epistemology, metaphysics, philosophy of mind and action, aesthetics and philosophy of art, to ethics, the meaning of life and the philosophy of religion, in an attempt to account for the world in all its significant aspects. It gives a unique and influential account of what is and is not of value in existence, the striving and pain of the human condition and the possibility of deliverance from it. This translation of the first volume of what later became a two-volume work reflects the eloquence and power of Schopenhauer's prose and renders philosophical terms accurately and consistently. It offers an introduction, glossary of names and bibliography, and succinct editorial notes, including notes on the revisions of the text which Schopenhauer made in 1844 and 1859.

This essay is one of ten contributions to a special editorial feature in The Journal of Nietzsche Studies 49.2, in which authors were invited to address the following questions: What is the future of Nietzsche studies? What are the most pressing questions its scholars should address? What texts and issues demand our urgent attention? And as we turn to these issues, what methodological and interpretive principles should guide us? The editorship hopes this collection will provide a starting point for discussions about the most fruitful directions for Nietzsche scholarship to take and the most promising avenues for building on the best recent work.

The purpose of the Cambridge Edition of the Works of Schopenhauer is to offer translations of the best modern German editions of Schopenhauer's work in a uniform format for Schopenhauer scholars, together with philosophical introductions and full editorial apparatus. The World as Will and Representation contains Schopenhauer's entire philosophy, ranging through epistemology, metaphysics, philosophy of mind and action, aesthetics and philosophy of art, to ethics, the meaning of life and the philosophy of religion. This second volume was added to the work in 1844, and revised in 1859. Its chapters are officially 'supplements' to the first volume, but are indispensable for a proper appreciation of Schopenhauer's thought. Here we have his most mature reflections on many topics, including sex, death, conscious and unconscious desires, and the doctrines of salvation and liberation in Christian and Indian thought. Schopenhauer clarifies the nature of his metaphysics of the will, and synthesizes insights from a broad range of literary, scientific and scholarly sources. This new translation reflects the eloquence and power of Schopenhauer's prose, and renders philosophical terms accurately and consistently. It offers an introduction, glossary of names, bibliography, and succinct editorial notes.

The editors of Nietzsche as a Scholar of Antiquity claim with some justification that few philosophers, and even fewer classicists, have "taken the time to understand [Nietzsche] on his own terms as a scholar of antiquity". "Our primary aim," Jensen and Heit say, "is to show not how Nietzsche's earlier works on antiquity help us to understand Nietzsche, but how they may improve our understanding of antiquity." The contributions vary quite widely in style and quality, and I shall suggest that not every contribution to the collection succeeds in that stated primary aim.

Schopenhauer asserts that ‘the will, which is objectified in human life as it is in every appearance, is a striving without aim and without end’. The article rejects some recent readings of this claim, and offers the following positive interpretation: however many specific aims of my specific desires I manage to attain, none is a final aim, in the sense that none terminates my ‘willing as a whole’, none turns me into a non-willing being. To understand Schopenhauer’s claim we must recognize his central contrast between happiness and will-lessness. Happiness is the satisfaction of individual desire, but no act of will that succeeds in satisfying individual desire is the attainment of a final aim, in that none brings about a conscious state in which the subject experiences no more unfulfilled desires. Such a state is the ultimate goal of existence, in Schopenhauer’s view, but happiness does not provide a route along which it can be attained.

Many commentators have said that Nietzsche is concerned, either in all or in some parts of his career, with providing a kind of ‘theodicy,’ or with justifying or finding meaning in suffering. In this article, I examine these notions, questioning whether terms such as ‘theodicy’ or ‘justifying suffering’ are helpful in getting Nietzsche’s views into focus, and exploring some unclarities concerning the way in which such terms themselves are understood. I conclude that, while Nietzsche’s later position is continuous with the tradition of theodicy in seeking to relate suffering’s value to some wider whole, it is also discontinuous with that tradition because it does not hold that suffering as such has a fixed normative value, that suffering as such has a meaning, that it happens for a reason, or that it is justified, let alone that the world’s containing suffering is in line with our interests, or that we ought because of suffering to value our lives one way or another. On Nietzsche’s view there is nothing that guarantees meaning or specific normative value to suffering just because it is suffering. In all these senses Nietzsche has moved away from the tradition of theodicy.

The paper argues on the basis of internal textual evidence that Nietzsche's statement that Essay 3 of On the Genealogy of Morality illustrates an aphorism has hitherto been misinterpreted. The aphorism in question is Section 1 of Essay 3 (which was in fact inserted a late stage of publication); the remainder of Essay 3 is the commentary on it. Those interpreters who have taken the short epigram concerning 'wisdom as a woman' to be the aphorism on which Essay 3 is the commentary have invented theories concerning what Nietzsche means by 'intepretation' that are rendered unnecessary by locating the correct aphorism.

Against the claim that Nietzsche’s early and late views on confronting the truth about human existence differ widely, this article argues that in The Birth of Tragedy tragic art is affirmative of life and not limited to beautifying illusion, while later works still contain the idea that artistic production of beauty is a falsification necessary to make existence bearable for us. Nietzsche did not start with the view that art’s value lies in sheer illusion, nor end with the view that truth should be confronted wholly without illusion, but is ambivalent on this issue throughout

This series of lectures was originally scheduled to include a talk on Schopenhauer by Patrick Gardiner. Sadly, Patrick died during the summer, and I was asked to stand in. Patrick must, I am sure, have been glad to see this series of talks on German Philosophy being put on by the Royal Institute, and he, probably more than anyone on the list, deserves to have been a part of it. Patrick Gardiner taught and wrote with unfailing integrity and quiet refinement in the Oxford of the 1950s, '60s, '70s and '80s, when the changing fashions in philosophy, and Oxford philosophy in particular, were quite remote from his own central interests. He went his own way, radically but quite undemonstratively. His book on Schopenhauer, originally published in 1963, was a beacon in the night as far as English-language publications on that philosopher are concerned. It is still a leader in the field, and I am pleased to say it has been re-issued just this year after being out of print for too long. Patrick worked in aesthetics, on Kant, and on the German Idealists, showing an expertise and a fondness for Fichte which now seem well ahead of their time. He also contributed well known books on Kierkegaard and on the philosophy of history. I am honoured to be invited as Patrick's replacement. He was a true pioneer, whom all of us working in these several fields that have now grown more fashionable and more populated should pause to salute

In response to Michael Wreen, 'Once is Not Enough?' (British Journal of Aesthetics 1990), this article argues that the short story by Jorge Luis Borges, 'Pierre Menard, Author of the Quixote' supports Arthur Danto's account of the individuation of art works, according to which two verbally identical compositions can be two distinct works. Wreen argues that the Menard story is a case of copying. But the story is one of intentional coincidence of texts, not copying. Hence Wreen lacks a convincing case for denying that the the text of Borges' Menard constitutes a work distinct from Cervantes' Don Quixote.

There are two familiar strategic approaches to Kant's Critique of Judgement which commentators have not always found easy to combine. One would regard the work as fitting snugly into Kant's enterprise as the keystone that absorbs the forces of his theoretical and practical philosophies, uniting them and itself into a single sound structure. That Kant saw it this way is obvious from his Introduction to the Critique. But the other approach has sometimes seemed more fruitful: start with the Analytic of the Beautiful and take it not as the completion but as the beginning of something, a treatise which, in offering possibly the fullest and most rigorous account of the autonomy of aesthetic judgement, plays a foundational role in the discipline now known as aesthetics. On this approach questions concerning morality and the unity of Kant's philosophy can be set aside for attention later, if ever

The final part of Schopenhauer’s argument in The World as Will and Representation concerns “affirmation and negation of the will”. He argues, with a fervor that borders on the religious, that “negation of the will” is a condition of unique value, the only state that enables “true salvation, redemption from life and from suffering”. Some commentators have asserted without qualification that this condition is his “highest good.” However, Schopenhauer in fact claims that there cannot be a highest good, because 'good' is always relative to sstisfaction of a will, and there is no possible final satisfaction of the will. It is only figuratively the will-lessness is the highest good. The article examines the coherence of Schopenhauer's position. Because of the relation of 'good' to willing, he appears reluctant to call will-lessness 'good' at all, despite rating it a state of superior value. The article suggests that Schopenhauer should either abandon his univocal account of 'good' as related to willing, or accept that things can be good in relation to different kinds of willing, namely egoistic and non-egoistic willing. It is argued that the latter resolution if preferable.

The article argues that Schopenhauer seeks to defend art against Plato's critique, but that he does so by adopting two distinct strategies that to some extent conflect: a 'cognitivist strategy' according to which art provides the most objective knowledge of reality, and an 'aesthetic experience' strategy, in which there is a peculiarly aesthetic state of mind which gives our pleasure in art a value of its own. The truly unifying notion in Schopenhauer's aesthetic theory is that of tranquil, will-less contemplation, a state of non-identification with the striving, suffering, bodily individual that one is. The Ideas testify to the endurance of Schopenhauer's early Platonic ambitions, but they do not really produce a convincing theory. At one end of the spectrum, the Ideas are otiose: pleasure is in the tranquility of contemplation, which may well be of an empirical object. At the other end of the spectrum, apprehension of the Ideas serves an all-important cognitive function, but our pleasure cannot stem from our knowing the horrifying Idea of humanity per se. Rather, the key to the satisfaction we take in tragedy is, in Schopenhauer's account, the will-lessness of sublime resignation in face of the Idea.

This volume of translations unites three shorter works by Arthur Schopenhauer that expand on themes from his book The World as Will and Representation. In On the Fourfold Root he takes the principle of sufficient reason, which states that nothing is without a reason why it is, and shows how it covers different forms of explanation or ground that previous philosophers have tended to confuse. Schopenhauer regarded this study, which he first wrote as his doctoral dissertation, as an essential preliminary to The World as Will. On Will in Nature examines contemporary scientific findings in search of corroboration of his thesis that processes in nature are all a species of striving towards ends; and On Vision and Colours defends an anti-Newtonian account of colour perception influenced by Goethe's famous colour theory. This is the first English edition to provide extensive editorial notes on the different published versions of these works.

Arthur Schopenhauer is something of a maverick figure in the history of philosophy. He produced a unique theory of the world and human existence based upon his notion of will. This collection analyses the related but distinct components of will from the point of view of epistemology, metaphysics, philosophy of mind, aesthetics, ethics, and the philosophy of psychoanalysis. This volume explores Schopenhauer's philosophy of death, his relationship to the philosophy of Kant, his use of ideas drawn from both Buddhism and Hinduism, and the important influence he exerted on Nietzsche, Freud, and Wittgenstein.

Schopenhauer is considered to be the most readable of German philosophers. This book gives a succinct explanation of his metaphysical system, concentrating on the original aspects of his thought, which inspired many artists and thinkers including Nietzsche, Wagner, Freud, and Wittgenstein. Schopenhauer's central notion is that of the will--a blind, irrational force that he uses to interpret both the human mind and the whole of nature. Seeing human behavior as that of a natural organism governed by the will to life, Schopenhauer developed radical insights concerning the unconscious and sexuality which influenced both psychologists and philosophers.