“This actual world of what is knowable, in which we are and which is in us, remains both the material and the limit of our consideration.”
Vol I, Ch. 4, The World As Will: Second Aspect, § 53, as translated by Eric F. J. Payne (1958)
The World as Will and Representation (1819; 1844; 1859)
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Arthur Schopenhauer 261
German philosopher 1788–1860Related quotes
"The Profession of Poetry," Partisan Review (September/October 1950) [p. 166]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

On Truth and Lie in an Extra-Moral Sense (1873)

Discourse Delivered at the Royal Society (30 November 1825), published in Six Discourses delivered before the Royal Society, at their Anniversary Meetings, on the Award of the Royal and Copley Medals, preceded by an Address to the Society on the Progress and Prospects of Science (1827); also in The Edinburgh Review Or Critical Journal (October 1827)
Context: Fortunately science, like that nature to which it belongs, is neither limited by time nor by space. It belongs to the world, and is of no country and of no age. The more we know, the more we feel our ignorance; the more we feel how much remains unknown; and in philosophy, the sentiment of the Macedonian hero can never apply, — there are always new worlds to conquer.

Source: In Search of Lost Time, Remembrance of Things Past (1913-1927), Vol. VII: The Past Recaptured (1927), Ch. III: "An Afternoon Party at the House of the Princesse de Guermantes"
Context: By art alone we are able to get outside ourselves, to know what another sees of this universe which for him is not ours, the landscapes of which would remain as unknown to us as those of the moon. Thanks to art, instead of seeing one world, our own, we see it multiplied and as many original artists as there are, so many worlds are at our disposal, differing more widely from each other than those which roll round the infinite and which, whether their name be Rembrandt or Vermeer, send us their unique rays many centuries after the hearth from which they emanate is extinguished.This labour of the artist to discover a means of apprehending beneath matter and experience, beneath words, something different from their appearance, is of an exactly contrary nature to the operation in which pride, passion, intelligence and habit are constantly engaged within us when we spend our lives without self-communion, accumulating as though to hide our true impressions, the terminology for practical ends which we falsely call life.

Source: David and Goliath: Underdogs, Misfits, and the Art of Battling Giants
So long as we continue to raise more men who demand more food and clothes and fuel, we are subject to the limitations of the material universe, and what we get ever costs us more and benefits us less. But when we cease to demand more, and begin to demand better, commodities, more delicate, highly finished and harmonious, we can increase the enjoyment without adding to the cost or exhausting the store. What artist would not laugh at the suggestion that the materials of his art, his colours, clay, marble, or what else he wrought in, might fail and his art come to an end? When we are dealing with qualitative, i.e. artistic, goods, we see at once how an infinite expenditure of labour may be given, an infinite satisfaction taken, from the meagrest quantity of matter and space. In proportion as a community comes to substitute a qualitative for a quantitative standard of living, it escapes the limitations imposed by matter upon man. Art knows no restrictions of space or size, and in proportion as we attain the art of living we shall be likewise free.
The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development

“For where did Dante get the material for his Hell, if not from this actual world of ours?”