Essays of Schopenhauer — Background and Themes
Edition facts
Before opening Essays of Schopenhauer — Background and Themes, the edition data offers a quick orientation: 76,469 words, 5 hr 33 min estimated reading time, and 17 detected text sections.
The text analysis averages about 30.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Philosophy, German,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
openhauer was placed in the office of a Hamburg senator called Jenisch, but he was as little inclined as ever to follow a commercial career, and secretly shirked his work so that he might pursue his studies. A little later a somewhat unexplainable calamity occurred. When Dantzic ceased to be a free city, and Heinrich Schopenhauer at a considerable cost and monetary sacrifice transferred his business to Hamburg, the event caused him much bitterness of spirit. At Hamburg his business seems to have undergone fluctuations. Whether these further affected his spirit is not sufficiently established, but it is certain, however, that he developed peculiarities of manner, and that his temper became more violent. At any rate, one day in April 1805 it was found that he had either fallen or thrown himself into the canal from an upper storey of a granary; it was generally concluded that it was a case of suicide.
Schopenhauer was seventeen at the time of this catastrophe, by which he was naturally greatly affected. Although by the death of his father the influence which impelled him to a commercial career was removed, his veneration for the dead man remained with him through life, and on one occasion found expression in a curious tribute to his memory in a dedication (which was not, however, printed) to the second edition of _Die Welt als Wille und Vorstellung._ "That I could make use of and cultivate in a right direction the powers which nature gave me," he concludes, "that I could follow my natural impulse and think and work for countless others without the help of any one; for that I thank thee, my father, thank thy activity, thy cleverness, thy thrift and care for the future. Therefore I praise thee, my noble father. And every one who from my work derives any pleasure, consolation, or instruction shall hear thy name and know that if Heinrich Floris Schopenhauer had not been the man he was, Arthur Schopenhauer would have been a hundred times ruined."
The year succeeding her husband's death, Johanna Schopenhauer removed with her daughter to Weimar, after having attended to the settlement of her husband's affairs, which left her in possession of a considerable income. At Weimar she devoted herself to the pursuit of literature, and held twice a week a sort of salon, which was attended by Goethe, the two Schlegels, Wieland, Heinrich Meyer, Grimm, and other literary persons of note. Her son meanwhile continued for another year at the "dead timber of the desk," when his mother, acting under the advice of her friend Fernow, consented, to his great joy, to his following his literary bent.
During the next few years we find Schopenhauer devoting himself assiduously to acquiring the equipment for a learned career; at first at the Gymnasium at Gotha, where he penned some satirical verses on one of the masters, which brought him into some trouble. He removed in consequence to Weimar, where he pursued his classical studies under the direction of Franz Passow, at whose house he lodged. Unhappily, during his sojourn at Weimar his relations with his mother became strained. One feels that there is a sort of autobiographical interest in his essay on women, that his view was largely influenced by his relations with his mother, just as one feels that his particular argument in his essay on education is largely influenced by the course of his own training.
On his coming of age Schopenhauer was entitled to a share of the paternal estate, a share which yielded him a yearly income of about £150. He now entered himself at the University of Göttingen (October 1809), enrolling himself as a student of medicine, and devoting himself to the study of the natural sciences, mineralogy, anatomy, mathematics, and history; later, he included logic, physiology, and ethnography. He had always been passionately devoted to music and found relaxation in learning to play the flute and guitar. His studies at this time did not preoccupy him to the extent of isolation; he mixed freely with his fellows, and reckoned amongst his friends or acquaintances, F.W. Kreise, Bunsen, and Ernst Schulze. During one vacation he went on an expedition to Cassel and to the Hartz Mountains. It was about this time, and partly owing to the influence of Schulze, the author of _Aenesidemus_, and then a professor at the University of Göttingen, that Schopenhauer came to realise his vocation as that of a philosopher.
Schopenhauer's essays, as presented in this 1903 translation by Mrs. Rudolf Dircks, open with a biographical note that immediately establishes the author's defiant self-assurance: when asked where he wished to be buried, he replied, "Anywhere; they will find me." The translator characterizes him as a pessimist who nonetheless held an "optimistic conviction that his message to the world would ultimately be listened to." This tension between bleak worldview and unwavering self-belief permeates the collection. The essays are described as "a valuable criticism of life," and the reader is warned that Schopenhauer "never hesitated to declare his own faith in himself." The prose is direct, often confrontational, and the arguments are built through sharp contrasts and historical examples, as seen in the excerpt on ancient Greek religion, where he challenges the necessity of dogma for social order.
A Combative Voice
The most immediate feature of these essays is Schopenhauer's aggressive, uncompromising tone. He does not argue so much as assert, often addressing an imagined opponent. In the "Short Dialogue on Religion," he has Demopheles defend religion as a necessary social tool, while Philalethes—clearly Schopenhauer's mouthpiece—dismisses this as false "if it were repeated a hundred times." The dialogue form allows him to stage a debate, but the outcome is never in doubt. His sentences are long and layered, packed with qualifications and examples, yet they drive toward a single, blunt conclusion. This voice is consistent across topics, whether he is discussing noise, education, or the emptiness of existence. The reader is not invited to agree but to witness a mind that has already decided.
Structure as Argument
Schopenhauer's essays are built around a recurring structural pattern: he states a provocative thesis, then supports it with a barrage of historical or psychological evidence, often drawn from classical antiquity. In the excerpt on religion, he cites the Greeks as "striking instantia in contrarium"—counterexamples—to prove that law and order do not require religious dogma. He lists the duties of Greek priests ("temple ceremonies, prayers, songs, sacrifices, processions") to show they had nothing to do with morality. The argument proceeds by accumulation: he piles up details until the reader is overwhelmed. This method gives the essays a relentless, almost legalistic quality. Each paragraph is a new blow, and the conclusion is delivered with finality. The translator preserves this rhythm, though occasional character set problems in the source text remind us of the edition's limitations.
Pace and Variation Across Topics
While Schopenhauer's voice remains constant, the pace of his essays varies considerably. The shorter pieces, like "On Noise" or "On Education," are brisk and focused, moving quickly from complaint to prescription. Longer essays, such as "Metaphysics of Love" or the dialogue on religion, slow down to accommodate more elaborate argumentation and hypothetical exchanges. The dialogue form, in particular, creates a back-and-forth that breaks up the monologue, though Philalethes always has the last word. The translator's preface notes that these essays "have an interest, if not altogether apart, at least of a sufficiently independent interest" from Schopenhauer's main philosophical system. This independence allows the reader to dip into individual essays without needing to master his entire metaphysics, though the underlying pessimism and will-to-life theory surface repeatedly, especially in the longer pieces.
Readers approaching this collection should be prepared for a writer who is never tentative. Schopenhauer's essays reward attention to his use of historical example and his willingness to contradict received opinion. The translation by Mrs. Dircks, while early twentieth-century in style, captures the force of the original. Because the essays were written to support a unified philosophical system, they gain depth when read in sequence, but each can stand alone. The most effective approach is to read one essay at a time, letting its argument settle before moving on.
Reading Schopenhauer’s insistence on the world’s suffering reminded me of evenings under a heavy library lamp, where I first encountered Nietzsche’s dancing amid that same darkness. His gaiety felt less like an answer than a quiet rebellion, a stubborn warmth against the chill. The Joyful Wisdom ("La Gaya Scienza") Complete Works, Volume Ten — Story, Setting & Ideas once gave me that particular ache—not comfort, but company in the questions.
There are no reviews for this eBook.
Before you leave, reflect on the book
Use these questions to collect your thoughts before moving on.