Arthur Schopenhauer’s The World as Will and Representation is one of the most ambitious and penetrating philosophical treatises of the 19th century, made from a complex combination of epistemology, metaphysics, aesthetics, ethics, and a deep existential inquiry into the nature of human suffering and the possibilities of transcendence. Originally published in 1818 and later expanded with a second volume in 1844, this work encapsulates Schopenhauer’s mature philosophy, one that builds upon and departs from Kantian foundations, pursuing metaphysical truths within the realms of art, psychology, ethics, and even religious doctrine. This text, a masterwork of philosophical clarity, ambition, and style, remains a monumental exploration of existence as defined by an implacable force: the Will.
Schopenhauer’s argument begins with a radical reevaluation of Kant’s insights into the nature of perception and the limits of knowledge. Like Kant, Schopenhauer affirms that time, space, and causality are a priori constructs, organizing the chaotic sensory data into coherent perceptions and situating them within the concept of representation, or Vorstellung. For Schopenhauer, however, this phenomenal world—the world as we perceive and understand it—constitutes only the surface. Beneath this orderly representation lies a deeper, more universal reality he calls the Will, a primal, non-rational force driving all of existence, manifesting itself in everything from the most basic laws of nature to the restless striving in human life. In his view, the Will is the “thing-in-itself,” the essence of existence, unconditioned by space, time, and causality, and it is in this revelation that Schopenhauer establishes his philosophy as both an extension and a challenge to Kant’s critical system.
The first volume of The World as Will and Representation presents Schopenhauer’s philosophical architecture in four books, each building upon the last to articulate a systematic worldview. The first book examines the world as representation, elucidating how perception and cognition shape our subjective experience. Here, Schopenhauer introduces his principle of sufficient reason, the foundation upon which knowledge and causality are organized. He considers causality the only Kantian category necessary to understand the world, dismissing the others as redundant. From this standpoint, Schopenhauer insists that all perception and thought follow this principle, operating within a framework of cause and effect. In the second book, he penetrates beyond appearances to the metaphysical realm of the Will, which he posits as the source and substance underlying all things. Life itself, from the simplest instincts to the most complex desires, is an expression of this relentless, purposeless striving.
This theme of ceaseless striving takes on deep ethical and existential implications in the third and fourth books, where Schopenhauer goes into the human condition and the possibility of liberation from suffering. For Schopenhauer, life is inherently filled with frustration, conflict, and pain, stemming from the fact that Will is always in a state of desire and thus never at peace. He views pleasure as fleeting and suffering as ubiquitous, arguing that life is marked by a cycle of unfulfilled desires and momentary relief, an endless pursuit of satisfaction that remains, by nature, unachievable. This perspective positions him as a pioneering figure in Western pessimism, placing his thoughts in alignment with the Eastern doctrines of Buddhism and Hinduism, which also acknowledge life’s inherent suffering and the need for liberation. However, Schopenhauer’s notion of liberation is unique; he sees an opportunity for transcendence in aesthetic contemplation, which offers a temporary escape from the Will’s demands, and ultimately, in the path of asceticism, where one seeks to quiet the Will entirely.
Schopenhauer’s approach to aesthetics in the third book of Volume I offers some of his most original and celebrated insights. Art, he argues, provides a rare respite from the tyranny of the Will, allowing the individual to experience a state of pure perception detached from personal desire. In moments of true aesthetic engagement, we transcend our individual concerns and participate in a kind of universal perspective, experiencing the world without the distorting lens of desire. Schopenhauer elevates music above other art forms as a direct expression of the Will, bypassing representation altogether and providing an unmediated glimpse into the essence of existence. Art becomes, for Schopenhauer, a sacred realm where one may momentarily suspend the individual will, achieving a state of profound inner stillness and clarity.
The second volume of The World as Will and Representation, added nearly a quarter-century later, does not merely append Schopenhauer’s original insights; rather, it serves as an essential elaboration, offering “supplements” that deepen and refine the themes introduced in Volume I. Here, Schopenhauer expands on his metaphysical and ethical theories, engaging with contemporary scientific and cultural thought and venturing into extensive discussions on sexuality, mortality, psychology, and human nature. Schopenhauer’s treatment of the psychology of the Will in the second volume reveals a prescient understanding of subconscious motives, foreshadowing later developments in Freudian psychoanalysis. His reflections on sexuality as a powerful, irrational expression of the Will underscore his belief in the fundamental irrationality of human impulses, as they serve the species’ continuation without regard for individual happiness or well-being. This exploration of desire, sexuality, and mortality highlights the tragic nature of human existence, governed by forces beyond our conscious control.
The ethical implications of Schopenhauer’s metaphysics reach their apex in his discussion of asceticism and self-denial. To overcome suffering, Schopenhauer suggests, one must ultimately renounce the Will, a concept he parallels with the soteriological ideas in Indian and Christian mysticism. Unlike traditional Western philosophy, which valorizes agency and freedom, Schopenhauer advocates for a path of resignation, where the individual voluntarily subdues their desires and instincts. This renunciation of the Will represents the highest ethical ideal in Schopenhauer’s system, an ultimate form of transcendence where the individual dissolves into a state of unity with the world, free from the ceaseless agony of desire.
Schopenhauer’s impact on Western thought is beyond measure, and his integration of Eastern religious concepts into his philosophy marks him as an early pioneer in comparative philosophy. His notions of the Will and the suffering inherent in existence resonate deeply with Buddhist and Hindu teachings, yet he frames these ideas within a rigorously structured Western metaphysical framework. By presenting the Will as both the essence of all existence and the source of all suffering, Schopenhauer places himself at odds with traditional Western metaphysical optimism, arguing instead for an existential approach that highlights life’s inherent tragedies and the possibility of release from them.
The influence of The World as Will and Representation extends far beyond philosophy, echoing in the works of Nietzsche, Freud, Wagner, and countless existential thinkers. Schopenhauer’s view of human life as fundamentally irrational and driven by unconscious forces foreshadows psychoanalytic theory, while his existentially charged pessimism anticipates Nietzsche’s tragic philosophy and later existentialists’ search for meaning in a purposeless world. His emphasis on aesthetic experience as a path to transcendence has left an enduring legacy in aesthetics and art criticism, influencing composers, poets, and painters alike.
The Cambridge Edition translation captures the elegance and precision of Schopenhauer’s prose, rendering complex philosophical ideas with clarity and nuance. The detailed editorial apparatus—complete with philosophical introductions, a glossary, and critical notes—enhances accessibility without compromising the depth of Schopenhauer’s thought, making it invaluable for both seasoned scholars and new readers. By preserving Schopenhauer’s unique linguistic choices and philosophical terminology, this edition ensures fidelity to his vision, allowing English readers to experience the work as Schopenhauer intended.
The World as Will and Representation is a deeply challenging and thought-provoking work, one that compels readers to confront the darkest aspects of existence while seeking glimpses of transcendence through art, self-awareness, and renunciation. It is a work that, more than two centuries after its initial publication, continues to resonate, offering insights into the human condition that are as unsettling as they are enlightening. It stands as a testament to Schopenhauer’s unyielding quest to understand the nature of reality, human suffering, and the possibility of redemption, inviting readers to reflect upon the fundamental questions of existence in all their profound and unsettling complexity.
Simon Gros 
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