Arthur Schopenhauer citations

Arthur Schopenhauer écouter [ˈartʊr ʃoːpʰœnhoːwøʁ] est un philosophe allemand, né le 22 février 1788 à Dantzig en Prusse, mort le 21 septembre 1860 à Francfort-sur-le-Main.

✵ 22. février 1788 – 21. septembre 1860
Arthur Schopenhauer photo

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Arthur Schopenhauer: 279   citations 2   J'aime

Arthur Schopenhauer citations célèbres

“Dans toute controverse ou argumentation, il faut que l'on s'entende sur quelque chose, un principe à partir duquel on va juger du problème posé : on ne saurait discuter avec quelqu'un qui conteste les principes.”
Contra negantem principia non est disputandum.

La Dialectique éristique publiée en Français sous le titre L'Art d'avoir toujours raison, 1830

Arthur Schopenhauer Citations

“L'Art d’avoir toujours raison La dialectique 1 éristique est l’art de disputer, et ce de telle sorte que l’on ait toujours raison, donc per fas et nefas (c’est-à-dire par tous les moyens possibles)2. On peut en effet avoir objectivement raison quant au débat lui-même tout en ayant tort aux yeux des personnes présentes, et parfois même à ses propres yeux. En effet, quand mon adversaire réfute ma preuve et que cela équivaut à réfuter mon affirmation elle-même, qui peut cependant être étayée par d’autres preuves – auquel cas, bien entendu, le rapport est inversé en ce qui concerne mon adversaire : il a raison bien qu’il ait objectivement tort. Donc, la vérité objective d’une proposition et la validité de celle-ci au plan de l’approbation des opposants et des auditeurs sont deux choses bien distinctes. (C'est à cette dernière que se rapporte la dialectique.) D’où cela vient-il ? De la médiocrité naturelle de l’espèce humaine. Si ce n’était pas le cas, si nous étions foncièrement honnêtes, nous ne chercherions, dans tout débat, qu’à faire surgir la vérité, sans nous soucier de savoir si elle est conforme à l’opinion que nous avions d’abord défendue ou à celle de l’adversaire : ce qui n’aurait pas d’importance ou serait du moins tout à fait secondaire. Mais c’est désormais l’essentiel. La vanité innée, particulièrement irritable en ce qui concerne les facultés intellectuelles, ne veut pas accepter que notre affirmation se révèle fausse, ni que celle de l’adversaire soit juste. Par conséquent, chacun devrait simplement s’efforcer de n’exprimer que des jugements justes, ce qui devrait inciter à penser d’abord et à parler ensuite. Mais chez la plupart des hommes, la vanité innée s’accompagne d’un besoin de bavardage et d’une malhonnêteté innée. Ils parlent avant d’avoir réfléchi, et même s’ils se rendent compte après coup que leur affirmation est fausse et qu’ils ont tort, il faut que les apparences prouvent le contraire. Leur intérêt pour la vérité, qui doit sans doute être généralement l’unique motif les guidant lors de l’affirmation d’une thèse supposée vraie, s’efface complètement devant les intérêts de leur vanité : le vrai doit paraître faux et le faux vrai.”

L'art d'avoir toujours raison

“Tout homme blanc est un homme décoloré.”

Le Monde comme volonté et comme représentation, 1818-1819 et 1844

“Étudier la logique en vue de ses avantages pratiques, ce serait vouloir apprendre au castor à bâtir sa hutte.”

Le Monde comme volonté et comme représentation, 1818-1819 et 1844

Arthur Schopenhauer: Citations en anglais

“Talent hits a target no one else can hit; Genius hits a target no one else can see.”

Arthur Schopenhauer livre The World as Will and Representation

Das Talent gleicht dem Schützen, der ein Ziel trifft, welches die Uebrigen nicht erreichen können; das Genie dem, der eines trifft, bis zu welchem sie nicht ein Mal zu sehn vermögen...
Vol. II, Ch. III, para. 31 (On Genius), 1844
As cited in The Little Book of Bathroom Philosophy: Daily Wisdom from the Greatest Thinkers‎ (2004) by Gregory Bergman, p. 137
The World as Will and Representation (1819; 1844; 1859)

“Every man takes the limits of his own field of vision for the limits of the world.”

Arthur Schopenhauer livre Parerga and Paralipomena

"Psychological Observations"
Parerga and Paralipomena (1851), Studies in Pessimism
Variante: Everyone takes the limits of his own vision for the limits of the world.
Source: Studies in Pessimism: The Essays

“Mostly it is loss which teaches us about the worth of things.”

Arthur Schopenhauer livre Parerga and Paralipomena

Meistens belehrt uns erst der Verlust über den Wert der Dinge.
Source: Parerga and Paralipomena (1851), Aphorisms on the Wisdom of Life

“The old woman dies, the burden is lifted.”
Obit anus, abit onus.

Statement Schopenhauer wrote in Latin into his account book, after the death of a seamstress to whom he had made court-ordered payments of 15 thalers a quarter for over twenty years, after she had accused him of having injured her arm; as quoted in Modern Philosophy: From Descartes to Schopenhauer and Hartmann (1877) by Francis Bowen, p. 392. Schopenhauer had won the original case, and, being assured by the head of the Kammergericht that the original judgment would be upheld, he left Berlin. In his absence, the judgement was overturned. Schopenhauer believed that the seamstress was feigning her injuries and that she would be sly enough to do so for the remainder of her life. The only visible signs of the assault were a few minor bruises. ; as quoted in A Biography" (2010) by David E. Cartwright, p. 408-411.

“The person who writes for fools is always sure of a large audience.”

Source: Religion: A Dialogue and Other Essays

“The composer reveals the innermost nature of the world, and expresses the profoundest wisdom in a language that his reasoning faculty does not understand”

Arthur Schopenhauer livre The World as Will and Representation

Vol. I, Ch. III, The World As Representation
The World as Will and Representation (1819; 1844; 1859)
Contexte: The composer reveals the innermost nature of the world, and expresses the profoundest wisdom in a language that his reasoning faculty does not understand, just as a magnetic somnambulist gives information about things of which she has no conception when she is awake. Therefore in the composer, more than in any other artist, the man is entirely separate and distinct from the artist.

“Reason is feminine in nature; it can only give after it has received. Of itself it has nothing but the empty forms of its operation.”

Arthur Schopenhauer livre The World as Will and Representation

Vol. I, Ch. 10, as translated by R. B. Haldane
Variant translations:
Reason is feminine in nature; it can give only after it has received. Of itself alone, it has nothing but the empty forms of its operation.
As translated by Eric F. J. Payne (1958) Vol. II, p. 50
Reason is feminine in nature: it will give only after it has received.
The World as Will and Representation (1819; 1844; 1859)
Contexte: Reason is feminine in nature; it can only give after it has received. Of itself it has nothing but the empty forms of its operation. There is no absolutely pure rational knowledge except the four principles to which I have attributed metalogical truth; the principles of identity, contradiction, excluded middle, and sufficient reason of knowledge. For even the rest of logic is not absolutely pure rational knowledge. It presupposes the relations and the combinations of the spheres of concepts. But concepts in general only exist after experience of ideas of perception, and as their whole nature consists in their relation to these, it is clear that they presuppose them.

“We forfeit three-fourths of ourselves in order to be like other people.”

As attributed in Dictionary of Quotations from Ancient and Modern English and Foreign Sources (1899) by James Wood, p. 624

“According to me, the influence of Sanskrit literature on our time will not be lesser than what was in the 16th century Greece's influence on Renaissance. One day, India's wisdom will flow again on Europe and will totally transform our knowledge and thought.”

Arthur Schopenhauer livre The World as Will and Representation

preface of his The World as Will and Representation., quoted in Londhe, S. (2008). A tribute to Hinduism: Thoughts and wisdom spanning continents and time about India and her culture. New Delhi: Pragun Publication.
The World as Will and Representation (1819; 1844; 1859)

“Each day is a little life: every waking and rising a little birth, every fresh morning a little youth, every going to rest and sleep a little death.”

Arthur Schopenhauer livre Parerga and Paralipomena

Vol. 2, Ch. 2: Our Relation To Ourselves http://ebooks.adelaide.edu.au/s/schopenhauer/arthur/counsels/chapter2.html
Parerga and Paralipomena (1851), Counsels and Maxims
Contexte: Do not shorten the morning by getting up late, or waste it in unworthy occupations or in talk; look upon it as the quintessence of life, as to a certain extent sacred. Evening is like old age: we are languid, talkative, silly. Each day is a little life: every waking and rising a little birth, every fresh morning a little youth, every going to rest and sleep a little death.

“The animal lacks both anxiety and hope because its consciousness is restricted to what is clearly evident and thus to the present moment: the animal is the present incarnate.”

Arthur Schopenhauer livre Parerga and Paralipomena

Vol. 2 "On the Suffering of the World" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Contexte: The animals are much more content with mere existence than we are; the plants are wholly so; and man is so according to how dull and insensitive he is. The animal’s life consequently contains less suffering but also less pleasure than the human’s, the direct reason being that on the one hand it is free from care and anxiety and the torments that attend them, but on the other is without hope and therefore has no share in that anticipation of a happy future which, together with the enchanting products of the imagination which accompany it, is the source of most of our greatest joys and pleasures. The animal lacks both anxiety and hope because its consciousness is restricted to what is clearly evident and thus to the present moment: the animal is the present incarnate.

“The bad thing about all religions is that, instead of being able to confess their allegorical nature, they have to conceal it”

Arthur Schopenhauer The Christian System

"The Christian System" in Religion: A Dialogue, and Other Essays (1910) as translated by Thomas Bailey Saunders, p. 106
Contexte: The bad thing about all religions is that, instead of being able to confess their allegorical nature, they have to conceal it; accordingly, they parade their doctrines in all seriousness as true sensu proprio, and as absurdities form an essential part of these doctrines we have the great mischief of a continual fraud. Nay, what is worse, the day arrives when they are no longer true sensu proprio, and then there is an end of them; so that, in that respect, it would be better to admit their allegorical nature at once. But the difficulty is to teach the multitude that something can be both true and untrue at the same time. Since all religions are in a greater or less degree of this nature, we must recognise the fact that mankind cannot get on without a certain amount of absurdity, that absurdity is an element in its existence, and illusion indispensable; as indeed other aspects of life testify.

“It takes place, by and large, with the same sort of necessity as a tree brings forth fruit, and demands of the world no more than a soil on which the individual can flourish.”

Arthur Schopenhauer livre Parerga and Paralipomena

Vol. 2 "On Philosophy and the Intellect" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Contexte: Talent works for money and fame; the motive which moves genius to productivity is, on the other hand, less easy to determine. It isn’t money, for genius seldom gets any. It isn’t fame: fame is too uncertain and, more closely considered, of too little worth. Nor is it strictly for its own pleasure, for the great exertion involved almost outweighs the pleasure. It is rather an instinct of a unique sort by virtue of which the individual possessed of genius is impelled to express what he has seen and felt in enduring works without being conscious of any further motivation. It takes place, by and large, with the same sort of necessity as a tree brings forth fruit, and demands of the world no more than a soil on which the individual can flourish.

“It is a clumsy experiment to make; for it involves the destruction of the very consciousness which puts the question and awaits the answer.”

Arthur Schopenhauer livre Parerga and Paralipomena

Vol. 2, Ch. 13, § 160
Parerga and Paralipomena (1851), Counsels and Maxims
Contexte: Suicide may also be regarded as an experiment — a question which man puts to Nature, trying to force her to answer. The question is this: What change will death produce in a man’s existence and in his insight into the nature of things? It is a clumsy experiment to make; for it involves the destruction of the very consciousness which puts the question and awaits the answer.

“The allegory was finally completed by Augustine, who penetrated deepest into its meaning, and so was able to conceive it as a systematic whole and supply its defects.”

Arthur Schopenhauer The Christian System

"The Christian System" in Religion: A Dialogue, and Other Essays (1910) as translated by Thomas Bailey Saunders, p. 105
Contexte: When the Church says that, in the dogmas of religion, reason is totally incompetent and blind, and its use to be reprehended, this really attests the fact that these dogmas are allegorical in their nature, and are not to be judged by the standard which reason, taking all things sensu proprio, can alone apply. Now the absurdities of a dogma are just the mark and sign of what is allegorical and mythical in it. In the case under consideration, however, the absurdities spring from the fact that two such heterogeneous doctrines as those of the Old and New Testaments had to be combined. The great allegory was of gradual growth. Suggested by external and adventitious circumstances, it was developed by the interpretation put upon them, an interpretation in quiet touch with certain deep-lying truths only half realised. The allegory was finally completed by Augustine, who penetrated deepest into its meaning, and so was able to conceive it as a systematic whole and supply its defects.

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