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THE WORLD AS WILL AND IDEA by ARTHUR SCHOPENHAUER. VOLUME I CONTAINING FOUR BOOKS. CONTENTS FIRST BOOK: THE WORLD AS IDEA FIRST ASPECT. THE IDEA SUBOBDI NATF. P TO THE PRINCIPLE or SUFFICIENT REASON THE OBJECT OF EXPERIENCE AND SCIENCE , SECOND BOOK: THE WORLD AS WILL FIRST ASPECT. THE OBJECTIFICATIO OF THE WILL. THIRD BOOK: THE WORLD AS IDEA SECOND ASPECT. THE IDEA INDEPENDENT OF THE PRINCIPLE OF SUFFICIENT REASON THE PLATONIC IDEA THE OBJECT OF ART 217. FOURTH BOOK: THE WORLD AS WILL SECOND ASPECT. AFTER THE ATTAINMENT OF SELF-KNOWLEDGE. ASSERTION AND DENIAL OF THE WILL TO LIVE 347. TRANSLATORS PREFACE: THE style of Die Welt als Wille und Vorstellung is sometimes loose and involved, as is so often the case in German philosophical treatises. The translation of the book has consequently been a matter of no little diffi culty. It was found that extensive alteration of the long and occasionally involved sentences, however likely to prove conducive to a satisfactory English style, tended not only to obliterate the form of the original but even to imperil the meaning. Where a choice has had to be made, the alternative of a somewhat slavish adherence to Schopenhauers ipsissima verba has accordingly been pre ferred to that of inaccuracy. The result is a piece of work which leaves much to be desired, but which has yet consistently sought to reproduce faithfully the spirit as well as the letter of the original. As regards the rendering of the technical terms about which there has been so much controversy, the equiva lents used have only been adopted after careful consider ation of their meaning in the theory of knowledge. For example, Vorstellung has been rendered by idea, in preference to representation, which is neither accurate, intelligible, nor elegant. Idee, is translated by the same word, but spelled with a capital, Idea. Again, Anschauung has been rendered according to the con text, either by perception simply, or by intuition or perception 1 Notwithstanding statements to the contrary in the text, the book is probably quite intelligible in itself, apart from, the treatise On the Fourfold Root of the Principle of Sufficient Reason. It has, however, been considered desirable to add an abstract of the latter work in an appendix to the third volume of this translation. To point out here how this book must be read in order to be thoroughly understood. By means of it I only intend to impart a single thought. Yet, not with standing all my endeavours, I could find no shorter way of imparting it than this whole book. I hold this thought to be that which has very long been sought for under the name of philosophy, and the discovery of which is therefore regarded by those who are familiar with history as quite as impossible as the discovery of the philosophers stone. I. According as we consider the different aspects of this one thought which I am about to impart, it exhibits itself as that which we call metaphysics, that which we call ethics and that which we call aesthetics and cer tainly it must be all this if it is what i Have already acknowledged I take it to be. A system of thought must always have an architectonic connection or coherence, that is, a connection in which one part always supports the other, though the latter does not support the former, in which ultimately the foundation supports all the rest without being supported by it, and the apex is supported without supporting. On the other hand, a single thought, however comprehensive it may be, must preserve the most perfect unity...
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这本厚重的哲学著作,初次捧读时,那种扑面而来的思想洪流几乎让人有些喘不过气来。它不像那些通俗易懂的读物,能让你在短时间内收获几条立即可用的“人生小贴士”;相反,它更像是一场漫长而艰深的攀登,每一步都需要极大的专注和耐心去消化那些精妙却又晦涩的论证。我记得我刚开始阅读时,对其中关于“表象世界”和“自在之物”的区分感到困惑,作者的逻辑体系之庞大与严谨,简直令人惊叹。他构建了一个宏大的形而上学框架,试图解释我们所经验到的一切现象背后的终极实在。阅读过程中,我不得不频繁地查阅注释和相关的哲学史背景知识,否则很多论点就会显得孤立无援。这本书的价值,并不在于它是否能提供一个令人舒适的答案,而在于它强迫你重新审视你认为理所当然的一切世界运作的底层逻辑。它不是让你轻松地生活,而是让你更深刻地去理解“存在”本身所携带的沉重与美感。那种智力上的挑战,远超一般的阅读体验,更像是一场与历史上最伟大头脑之一的深度对话,让人在反复咀嚼中,才略窥其万一。
评分这本书的后半部分,尤其是在谈及伦理和救赎的可能性时,那种从极端的唯意志论中寻求一丝微弱光明的努力,是我最为震撼的部分。它展现出作者的伟大之处——并非仅仅停留在对世界本质的冷峻批判,而是试图在认识到这种本质的基础上,探索人类精神可以依托的有限空间。虽然他提供的“慰藉”并非传统意义上的乐观主义,但那种在绝对的虚无面前所进行的人性坚守和审美超越的尝试,具有一种近乎悲剧英雄的壮烈感。我仿佛能看到,一个孤独的思想者,在看透了万物的底层机制后,依然选择以最高的标准去要求自己和艺术,这本身就是一种强大的肯定。这种对高尚精神状态的推崇,使得整部作品没有完全沉沦于虚无主义的泥淖,而是提供了一种智识上的、近乎宗教般的敬畏感,让人在读完后,对日常的琐碎和烦恼有了一种全新的疏离感和审视的视角。
评分从一个纯粹文学读者的角度来看,这本书的叙事魅力或许不如小说的引人入胜,但它在逻辑推演上的严谨和完整性,却展现出一种冰冷的、令人敬畏的文学力量。作者的论证如同精密的手术刀,层层剥离现象的表皮,直指核心的驱动力。我读到他关于“生命意志”的探讨时,那种近乎宿命论的论断,让我对历史的进程、个体的奋斗都产生了一种全新的、略带超然的理解。它不像某些哲学著作那样,试图用宏大的叙事来粉饰现实的残酷;相反,它以一种近乎冷酷的精确性,揭示了隐藏在一切行为背后的盲目冲动。这种不加修饰的坦诚,虽然令人不安,却也带来了一种奇异的解放感——当你不再被虚假的希望所束缚时,你对“当下”的感知反而变得更加清晰和真实。它不是一本读了能让你感觉良好的书,但它绝对是一本能让你感到思想被彻底激活的书。
评分坦率地说,这本书的阅读过程更像是一场马拉松式的哲学“苦修”。它的文字风格是如此的古典、绵密且缺乏现代出版物常见的导读和清晰的结构引导,对于习惯了快速信息获取的现代读者来说,门槛极高。我必须承认,在阅读某些章节时,我感到思维如同被困在迷宫之中,那些复杂的术语和层层递进的演绎链条,要求读者必须保持绝对的清醒和耐性。我尝试过不同的阅读速度,也尝试过仅仅关注核心观点,但很快发现,任何对细节的跳跃都会导致后续理解的崩塌。这迫使我重新学习“慢读”的艺术,不仅仅是用眼睛看文字,而是要用整个心智去构建作者所搭建的思维大厦。这种强迫性的慢下来,虽然过程痛苦,却意外地带来了久违的深度思考的乐趣。它让人重新认识到,真正的深刻见解往往不是轻易得来的,它们需要时间去沉淀、去被反复地审视和质疑。
评分当我合上这本书,重新回到日常生活的喧嚣中时,总会有一种奇妙的抽离感。这并非简单的“读完一本好书”后的满足,而更像是一种世界观的重塑。作者那令人不安却又极富洞察力的观察角度,像是为我安装了一副新的滤镜,让我看待艺术、道德乃至人类的欲望时,都带上了一层挥之不去的阴影——或者说,是更清醒的认知。我尤其欣赏他对于艺术的论述,那种将音乐置于所有艺术形式之巅的论断,虽然极具争议性,却在我的内心深处引起了强烈的共鸣。他笔下的艺术,不再是简单的审美活动,而是个体灵魂暂时摆脱意志枷锁、瞥见永恒的瞬间。这种体验的描述,比任何抒情散文都要来得有力。然而,这种深刻的洞见也伴随着一种难以言喻的悲凉,仿佛世界的美丽与痛苦是同一枚硬币的两面,而作者毫不留情地将我们引向了那光芒背后潜藏的巨大驱动力。这本书迫使我面对人类存在的某种根本性的、无法被理性完全驯服的冲动。
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