Parerga and Paralipomena is a collection of philosophical reflections by Arthur Schopenhauer published in 1851. The selection was compiled not as a summation of or introduction to Schopenhauer's philosophy, but as augmentary readings for those who had already embraced it, although the author maintained it would be comprehensible and of interest to the uninitiated nevertheless. The collection is divided into two volumes, covering first the parerga and thereafter the paralipomena to that philosophy. The parerga are six extended essays intended as supplementary to the author's thought. The paralipomena, short ruminations divided by topic into thirty-one subheadings, cover material hitherto unaddressed by the philosopher but deemed by him to be complementary to the parerga.
Vol. 2, Ch. 22, § 261
Variant translations:
Reading is thinking with some one else's head instead of one's own.
As translated by T. Bailey Saunders
Reading is equivalent to thinking with someone else’s head instead of with one’s own.
Parerga and Paralipomena (1851), Counsels and Maxims
Parerga and Paralipomena (1851), Religion: A Dialogue
Man sieht daraus, daß in der Universitäts-philosophie die Wahrheit nur eine sekundäre Stelle einnimmt und, wenn es gefordert wird, aufstehn muß, einer andern Eigenschaft Platz zu machen.
Sämtliche Werke, Bd. 5, p. 152, E. Payne, trans. (1974) Vol. 1, p. 140
Parerga and Paralipomena (1851), On Philosophy in the Universities
Vol. 2, Ch. 21, § 255
Parerga and Paralipomena (1851), Counsels and Maxims
Parerga and Paralipomena (1851), Counsels and Maxims
Vol. 2, Ch. 20, § 242
Parerga and Paralipomena (1851), Counsels and Maxims
Sämtliche Werke, Bd. 5, pp. 160-161, E. Payne, trans. (1974) Vol. 1, pp. 148-149
Parerga and Paralipomena (1851), On Philosophy in the Universities
“Dissimulation is innate in woman, and almost as much a quality of the stupid as of the clever.”
"Of Women"
Parerga and Paralipomena (1851), Studies in Pessimism
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
Context: 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.
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
Context: 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.
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
Context: 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.
Vol. 2, Ch. 13, § 160
Parerga and Paralipomena (1851), Counsels and Maxims
Context: 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.
Vol. 2 "The Art of Literature" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Writers may be classified as meteors, planets, and fixed stars. A meteor makes a striking effect for a moment. You look up and cry “There!” and it is gone forever. Planets and wandering stars last a much longer time. They often outshine the fixed stars and are confounded by them by the inexperienced; but this only because they are near. It is not long before they must yield their place; nay, the light they give is reflected only, and the sphere of their influence is confined to their orbit — their contemporaries. Their path is one of change and movement, and with the circuit of a few years their tale is told. Fixed stars are the only ones that are constant; their position in the firmament is secure; they shine with a light of their own; their effect today is the same as it was yesterday, because, having no parallax, their appearance does not alter with a difference in our standpoint. They belong not to one system, one nation only, but to the universe. And just because they are so very far away, it is usually many years before their light is visible to the inhabitants of this earth.
“Hatred is a thing of the heart, contempt a thing of the head.”
Vol. 2, Ch. 24, § 324
Variant translation: Hatred is an affair of the heart; contempt that of the head.
As translated by Eric F. J. Payne
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Hatred is a thing of the heart, contempt a thing of the head. Hatred and contempt are decidedly antagonistic towards one another and mutually exclusive. A great deal of hatred, indeed, has no other source than a compelled respect for the superior qualities of some other person; conversely, if you were to consider hating every miserable wretch you met you would have your work cut out: it is much easier to despise them one and all. True, genuine contempt, which is the obverse of true, genuine pride, stays hidden away in secret and lets no one suspect its existence: for if you let a person you despise notice the fact, you thereby reveal a certain respect for him, inasmuch as you want him to know how low you rate him — which betrays not contempt but hatred, which excludes contempt and only affects it. Genuine contempt, on the other hand, is the unsullied conviction of the worthlessness of another.
"On the Sufferings of the World"
Parerga and Paralipomena (1851), Studies in Pessimism
Context: In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin. It is a blessing that we do not know what is really going to happen. Could we foresee it, there are times when children might seem like innocent prisoners, condemned, not to death, but to life, and as yet all unconscious of what their sentence means.
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
Context: The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves it to the beholder to let these images take his thoughts as far as his mental powers will permit. This is why he is able to engage men of the most differing capabilities, indeed fools and sages together. The philosopher, on the other hand, presents not life itself but the finished thoughts which he has abstracted from it and then demands that the reader should think precisely as, and precisely as far as, he himself thinks. That is why his public is so small.
“Genuine contempt, on the other hand, is the unsullied conviction of the worthlessness of another.”
Vol. 2, Ch. 24, § 324
Variant translation: Hatred is an affair of the heart; contempt that of the head.
As translated by Eric F. J. Payne
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Hatred is a thing of the heart, contempt a thing of the head. Hatred and contempt are decidedly antagonistic towards one another and mutually exclusive. A great deal of hatred, indeed, has no other source than a compelled respect for the superior qualities of some other person; conversely, if you were to consider hating every miserable wretch you met you would have your work cut out: it is much easier to despise them one and all. True, genuine contempt, which is the obverse of true, genuine pride, stays hidden away in secret and lets no one suspect its existence: for if you let a person you despise notice the fact, you thereby reveal a certain respect for him, inasmuch as you want him to know how low you rate him — which betrays not contempt but hatred, which excludes contempt and only affects it. Genuine contempt, on the other hand, is the unsullied conviction of the worthlessness of another.
“But truth acquired by thinking of our own is like a natural limb; it alone really belongs to us.”
Vol. 2, Ch. 22, § 261
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Truth that has been merely learned is like an artificial limb, a false tooth, a waxen nose; at best, like a nose made out of another's flesh; it adheres to us only because it is put on. But truth acquired by thinking of our own is like a natural limb; it alone really belongs to us. This is the fundamental difference between the thinker and the mere man of learning. The intellectual attainments of a man who thinks for himself resemble a fine painting, where the light and shade are correct, the tone sustained, the colour perfectly harmonised; it is true to life. On the other hand, the intellectual attainments of the mere man of learning are like a large palette, full of all sorts of colours, which at most are systematically arranged, but devoid of harmony, connection and meaning.
“Writers may be classified as meteors, planets, and fixed stars.”
Vol. 2 "The Art of Literature" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Writers may be classified as meteors, planets, and fixed stars. A meteor makes a striking effect for a moment. You look up and cry “There!” and it is gone forever. Planets and wandering stars last a much longer time. They often outshine the fixed stars and are confounded by them by the inexperienced; but this only because they are near. It is not long before they must yield their place; nay, the light they give is reflected only, and the sphere of their influence is confined to their orbit — their contemporaries. Their path is one of change and movement, and with the circuit of a few years their tale is told. Fixed stars are the only ones that are constant; their position in the firmament is secure; they shine with a light of their own; their effect today is the same as it was yesterday, because, having no parallax, their appearance does not alter with a difference in our standpoint. They belong not to one system, one nation only, but to the universe. And just because they are so very far away, it is usually many years before their light is visible to the inhabitants of this earth.
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
Context: 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.
