By Arthur Schopenhauer, R. J. Hollingdale
One of many maximum philosophers of the 19th century, Schopenhauer (1788-1860) believed that human motion is set no longer via cause yet through 'will' - the blind and irrational wish for actual lifestyles. this option of his writings on faith, ethics, politics, girls, suicide, books and plenty of different issues is taken from Schopenhauer's final paintings, Parerga and Paralipomena, which he released in 1851. those items depict humanity as locked in a fight past strong and evil, and every person completely unfastened inside a Godless global, during which artwork, morality and self-awareness are our purely salvation. This leading edge - and pessimistic - view has proved powerfully influential upon philosophy and paintings, without delay affecting the paintings of Nietzsche, Wittgenstein and Wagner between others.
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Extra info for Essays and Aphorisms
Dire de la poésie de Char qu’il s’agit de poésie « révolutionnaire » signifie qu’on la réduit à une lecture à sens unique, alors qu’il est juste de dire que sa poésie « se veut » révolutionnaire, ou mieux qu’elle ne peut se poser et à la limite « agir » qu’en tant que telle : au sens où il y aura toujours chez lui une « révolution dans la révolution », un faire poétique qui toujours se situe « devant » l’action et souvent lutte avec elle. Considérons Feuillets d’Hypnos. Le lecteur de poésie – horrible spécification marquant une préférence insensée, comme s’il était légitime de distinguer dans le terrain de la lecture des champs différents selon le type de l’amateur – aurait quelque peine, au premier regard, à retrouver dans la configuration même de la page, dans la succession des lignes, un livre de vers.
Enfin, du même René Char, encore, pour lequel le maître du coffret, si loin maintenant au fond des âges de cendres, semblait avoir gardé une particulière prédilection : a) Une plaquette ornée de dessins à la plume par Greta Knutson. 993 - Couleur : Black b) Un recueil de Poèmes et Prose choisis ; les intempéries l’ont rongé, rendu pareil aux papyrus arachnéens. c) Deux œuvres, de grand format, dont il ne reste plus que les titres sur la couverture, comme symboles et signes de désastres anciens : L’Action de la Justice est Éteinte et Dehors la Nuit est Gouvernée.
Le présent est l’imminence du fini, ce qui le pose et constamment le régénère. Sa fondation continuelle. Sa menace aussi, comme d’un excès, d’une sorte de déflagration toujours possible.