Chapter XV: Part 15

Now the nature of man consists in this, that his will strives, is satisfied and strives anew, and so on for ever. Indeed, his happiness and well-being consist simply in the quick transition from wish to satisfaction, and from satisfaction to a new wish. For the absence of satisfaction is suffering, the empty longing for a new wish, languor, _ennui_. And corresponding to this the nature of melody is a constant digression and deviation from the key-note in a thousand ways, not only to the harmonious intervals to the third and dominant, but to every tone, to the dissonant sevenths and to the superfluous degrees; yet there always follows a constant return to the key-note. In all these deviations melody expresses the multifarious efforts of will, but always its satisfaction also by the final return to an harmonious interval, and still more, to the key-note. The composition of melody, the disclosure in it of all the deepest secrets of human willing and feeling, is the work of genius, whose action, which is more apparent here than anywhere else, lies far from all reflection and conscious intention, and may be called an inspiration. The conception is here, as everywhere in art, unfruitful. The composer reveals the inner nature of the world, and expresses the deepest wisdom in a language which his reason does not understand; as a person under the influence of mesmerism tells things of which he has no conception when he awakes. Therefore in the composer, more than in any other artist, the man is entirely separated and distinct from the artist. Even in the explanation of this wonderful art, the concept shows its poverty and limitation. I shall try, however, to complete our analogy. As quick transition from wish to satisfaction, and from satisfaction to a new wish, is happiness and well-being, so quick melodies without great deviations are cheerful; slow melodies, striking painful discords, and only winding back through many bars to the keynote are, as analogous to the delayed and hardly won satisfaction, sad. The delay of the new excitement of will, languor, could have no other expression than the sustained keynote, the effect of which would soon be unbearable; very monotonous and unmeaning melodies approach this effect. The short intelligible subjects of quick dance-music seem to speak only of easily attained common pleasure. On the other hand, the _Allegro maestoso_, in elaborate movements, long passages, and wide deviations, signifies a greater, nobler effort towards a more distant end, and its final attainment. The _Adagio_ speaks of the pain of a great and noble effort which despises all trifling happiness. But how wonderful is the effect of the _minor_ and _major_! How astounding that the change of half a tone, the entrance of a minor third instead of a major, at once and inevitably forces upon us an anxious painful feeling, from which again we are just as instantaneously delivered by the major. The _Adagio_ lengthens in the minor the expression of the keenest pain, and becomes even a convulsive wail. Dance-music in the minor seems to indicate the failure of that trifling happiness which we ought rather to despise, seems to speak of the attainment of a lower end with toil and trouble. The inexhaustibleness of possible melodies corresponds to the inexhaustibleness of Nature in difference of individuals, physiognomies, and courses of life. The transition from one key to an entirely different one, since it altogether breaks the connection with what went before, is like death, for the individual ends in it; but the will which appeared in this individual lives after him as before him, appearing in other individuals, whose consciousness, however, has no connection with his.

But it must never be forgotten, in the investigation of all these analogies I have pointed out, that music has no direct, but merely an indirect relation to them, for it never expresses the phenomenon, but only the inner nature, the in-itself of all phenomena, the will itself. It does not therefore express this or that particular and definite joy, this or that sorrow, or pain, or horror, or delight, or merriment, or peace of mind; but joy, sorrow, pain, horror, delight, merriment, peace of mind _themselves_, to a certain extent in the abstract, their essential nature, without accessories, and therefore without their motives. Yet we completely understand them in this extracted quintessence. Hence it arises that our imagination is so easily excited by music, and now seeks to give form to that invisible yet actively moved spirit-world which speaks to us directly, and clothe it with flesh and blood, _i.e._, to embody it in an analogous example. This is the origin of the song with words, and finally of the opera, the text of which should therefore never forsake that subordinate position in order to make itself the chief thing and the music a mere means of expressing it, which is a great misconception and a piece of utter perversity; for music always expresses only the quintessence of life and its events, never these themselves, and therefore their differences do not always affect it. It is precisely this universality, which belongs exclusively to it, together with the greatest determinateness, that gives music the high worth which it has as the panacea for all our woes. Thus, if music is too closely united to the words, and tries to form itself according to the events, it is striving to speak a language which is not its own. No one has kept so free from this mistake as Rossini; therefore his music speaks _its own language_ so distinctly and purely that it requires no words, and produces its full effect when rendered by instruments alone.

According to all this, we may regard the phenomenal world, or nature, and music as two different expressions of the same thing, which is therefore itself the only medium of their analogy, so that a knowledge of it is demanded in order to understand that analogy. Music, therefore, if regarded as an expression of the world, is in the highest degree a universal language, which is related indeed to the universality of concepts, much as they are related to the particular things. Its universality, however, is by no means that empty universality of abstraction, but quite of a different kind, and is united with thorough and distinct definiteness. In this respect it resembles geometrical figures and numbers, which are the universal forms of all possible objects of experience and applicable to them all _a priori_, and yet are not abstract but perceptible and thoroughly determined. All possible efforts, excitements, and manifestations of will, all that goes on in the heart of man and that reason includes in the wide, negative concept of feeling, may be expressed by the infinite number of possible melodies, but always in the universal, in the mere form, without the material, always according to the thing-in-itself, not the phenomenon, the inmost soul, as it were, of the phenomenon, without the body. This deep relation which music has to the true nature of all things also explains the fact that suitable music played to any scene, action, event, or surrounding seems to disclose to us its most secret meaning, and appears as the most accurate and distinct commentary upon it. This is so truly the case, that whoever gives himself up entirely to the impression of a symphony, seems to see all the possible events of life and the world take place in himself, yet if he reflects, he can find no likeness between the music and the things that passed before his mind. For, as we have said, music is distinguished from all the other arts by the fact that it is not a copy of the phenomenon, or, more accurately, the adequate objectivity of will, but is the direct copy of the will itself, and therefore exhibits itself as the metaphysical to everything physical in the world, and as the thing-in-itself to every phenomenon. We might, therefore, just as well call the world embodied music as embodied will; and this is the reason why music makes every picture, and indeed every scene of real life and of the world, at once appear with higher significance, certainly all the more in proportion as its melody is analogous to the inner spirit of the given phenomenon. It rests upon this that we are able to set a poem to music as a song, or a perceptible representation as a pantomime, or both as an opera. Such particular pictures of human life, set to the universal language of music, are never bound to it or correspond to it with stringent necessity; but they stand to it only in the relation of an example chosen at will to a general concept. In the determinateness of the real, they represent that which music expresses in the universality of mere form. For melodies are to a certain extent, like general concepts, an abstraction from the actual. This actual world, then, the world of particular things, affords the object of perception, the special and individual, the particular case, both to the universality of the concepts and to the universality of the melodies. But these two universalities are in a certain respect opposed to each other; for the concepts contain particulars only as the first forms abstracted from perception, as it were, the separated shell of things; thus they are, strictly speaking, _abstracta_; music, on the other hand, gives the inmost kernel which precedes all forms, or the heart of things. This relation may be very well expressed in the language of the schoolmen by saying the concepts are the _universalia post rem_, but music gives the _universalia ante rem_, and the real world the _universalia in re_. To the universal significance of a melody to which a poem has been set, it is quite possible to set other equally arbitrarily selected examples of the universal expressed in this poem corresponding to the significance of the melody in the same degree. This is why the same composition is suitable to many verses; and this is also what makes the _vaudeville_ possible. But that in general a relation is possible between a composition and a perceptible representation rests, as we have said, upon the fact that both are simply different expressions of the same inner being of the world. When now, in the particular case, such a relation is actually given, that is to say, when the composer has been able to express in the universal language of music the emotions of will which constitute the heart of an event, then the melody of the song, the music of the opera, is expressive. But the analogy discovered by the composer between the two must have proceeded from the direct knowledge of the nature of the world unknown to his reason, and must not be an imitation produced with conscious intention by means of conceptions, otherwise the music does not express the inner nature of the will itself, but merely gives an inadequate imitation of its phenomenon. All specially imitative music does this; for example, “The Seasons,” by Haydn; also many passages of his “Creation,” in which phenomena of the external world are directly imitated; also all battle-pieces. Such music is entirely to be rejected.

The unutterable depth of all music by virtue of which it floats through our consciousness as the vision of a paradise firmly believed in yet ever distant from us, and by which also it is so fully understood and yet so inexplicable, rests on the fact that it restores to us all the emotions of our inmost nature, but entirely without reality and far removed from their pain. So also the seriousness which is essential to it, which excludes the absurd from its direct and peculiar province, is to be explained by the fact that its object is not the idea, with reference to which alone deception and absurdity are possible; but its object is directly the will, and this is essentially the most serious of all things, for it is that on which all depends. How rich in content and full of significance the language of music is, we see from the repetitions, as well as the _Da capo_, the like of which would be unbearable in works composed in a language of words, but in music are very appropriate and beneficial, for, in order to comprehend it fully, we must hear it twice.

In the whole of this exposition of music I have been trying to bring out clearly that it expresses in a perfectly universal language, in a homogeneous material, mere tones, and with the greatest determinateness and truth, the inner nature, the in-itself of the world, which we think under the concept of will, because will is its most distinct manifestation. Further, according to my view and contention, philosophy is nothing but a complete and accurate repetition or expression of the nature of the world in very general concepts, for only in such is it possible to get a view of that whole nature which will everywhere be adequate and applicable. Thus, whoever has followed me and entered into my mode of thought, will not think it so very paradoxical if I say, that supposing it were possible to give a perfectly accurate, complete explanation of music, extending even to particulars, that is to say, a detailed repetition in concepts of what it expresses, this would also be a sufficient repetition and explanation of the world in concepts, or at least entirely parallel to such an explanation, and thus it would be the true philosophy. Consequently the saying of Leibnitz quoted above, which is quite accurate from a lower standpoint, may be parodied in the following way to suit our higher view of music: _Musica est exercitium metaphysices occultum nescientis se philosophari animi_; for _scire_, to know, always means to have fixed in abstract concepts. But further, on account of the truth of the saying of Leibnitz, which is confirmed in various ways, music, regarded apart from its æsthetic or inner significance, and looked at merely externally and purely empirically, is simply the means of comprehending directly and in the concrete large numbers and complex relations of numbers, which otherwise we could only know indirectly by fixing them in concepts. Therefore by the union of these two very different but correct views of music we may arrive at a conception of the possibility of a philosophy of number, such as that of Pythagoras and of the Chinese in Y-King, and then interpret in this sense the saying of the Pythagoreans which Sextus Empiricus quotes (adv. Math., L. vii.): τῳ αριθμῳ δε τα παντ᾽ επεοικεν (_numero cuncta assimilantur_). And if, finally, we apply this view to the interpretation of harmony and melody given above, we shall find that a mere moral philosophy without an explanation of Nature, such as Socrates wanted to introduce, is precisely analogous to a mere melody without harmony, which Rousseau exclusively desired; and, in opposition to this mere physics and metaphysics without ethics, will correspond to mere harmony without melody. Allow me to add to these cursory observations a few more remarks concerning the analogy of music with the phenomenal world. We found in the second book that the highest grade of the objectification of will, man, could not appear alone and isolated, but presupposed the grades below him, as these again presupposed the grades lower still. In the same way music, which directly objectifies the will, just as the world does, is complete only in full harmony. In order to achieve its full effect, the high leading voice of the melody requires the accompaniment of all the other voices, even to the lowest bass, which is to be regarded as the origin of all. The melody itself enters as an integral part into the harmony, as the harmony enters into it, and only thus, in the full harmonious whole, music expresses what it aims at expressing. Thus also the one will outside of time finds its full objectification only in the complete union of all the steps which reveal its nature in the innumerable ascending grades of distinctness. The following analogy is also very remarkable. We have seen in the preceding book that notwithstanding the self-adaptation of all the phenomena of will to each other as regards their species, which constitutes their teleological aspect, there yet remains an unceasing conflict between those phenomena as individuals, which is visible at every grade, and makes the world a constant battle-field of all those manifestations of one and the same will, whose inner contradiction with itself becomes visible through it. In music also there is something corresponding to this. A complete, pure, harmonious system of tones is not only physically but arithmetically impossible. The numbers themselves by which the tones are expressed have inextricable irrationality. There is no scale in which, when it is counted, every fifth will be related to the keynote as 2 to 3, every major third as 4 to 5, every minor third as 5 to 6, and so on. For if they are correctly related to the keynote, they can no longer be so to each other; because, for example, the fifth must be the minor third to the third, &c. For the notes of the scale may be compared to actors who must play now one part, now another. Therefore a perfectly accurate system of music cannot even be thought, far less worked out; and on this account all possible music deviates from perfect purity; it can only conceal the discords essential to it by dividing them among all the notes, _i.e._, by temperament. On this see Chladni’s “Akustik,” § 30, and his “Kurze Uebersicht der Schall- und Klanglehre.”(63)

I might still have something to say about the way in which music is perceived, namely, in and through time alone, with absolute exclusion of space, and also apart from the influence of the knowledge of causality, thus without understanding; for the tones make the æsthetic impression as effect, and without obliging us to go back to their causes, as in the case of perception. I do not wish, however, to lengthen this discussion, as I have perhaps already gone too much into detail with regard to some things in this Third Book, or have dwelt too much on particulars. But my aim made it necessary, and it will be the less disapproved if the importance and high worth of art, which is seldom sufficiently recognised, be kept in mind. For if, according to our view, the whole visible world is just the objectification, the mirror, of the will, conducting it to knowledge of itself, and, indeed, as we shall soon see, to the possibility of its deliverance; and if, at the same time, the world as idea, if we regard it in isolation, and, freeing ourselves from all volition, allow it alone to take possession of our consciousness, is the most joy-giving and the only innocent side of life; we must regard art as the higher ascent, the more complete development of all this, for it achieves essentially just what is achieved by the visible world itself, only with greater concentration, more perfectly, with intention and intelligence, and therefore may be called, in the full significance of the word, the flower of life. If the whole world as idea is only the visibility of will, the work of art is to render this visibility more distinct. It is the _camera obscura_ which shows the objects more purely, and enables us to survey them and comprehend them better. It is the play within the play, the stage upon the stage in “Hamlet.”

The pleasure we receive from all beauty, the consolation which art affords, the enthusiasm of the artist, which enables him to forget the cares of life,—the latter an advantage of the man of genius over other men, which alone repays him for the suffering that increases in proportion to the clearness of consciousness, and for the desert loneliness among men of a different race,—all this rests on the fact that the in-itself of life, the will, existence itself, is, as we shall see farther on, a constant sorrow, partly miserable, partly terrible; while, on the contrary, as idea alone, purely contemplated, or copied by art, free from pain, it presents to us a drama full of significance. This purely knowable side of the world, and the copy of it in any art, is the element of the artist. He is chained to the contemplation of the play, the objectification of will; he remains beside it, does not get tired of contemplating it and representing it in copies; and meanwhile he bears himself the cost of the production of that play, _i.e._, he himself is the will which objectifies itself, and remains in constant suffering. That pure, true, and deep knowledge of the inner nature of the world becomes now for him an end in itself: he stops there. Therefore it does not become to him a quieter of the will, as, we shall see in the next book, it does in the case of the saint who has attained to resignation; it does not deliver him for ever from life, but only at moments, and is therefore not for him a path out of life, but only an occasional consolation in it, till his power, increased by this contemplation and at last tired of the play, lays hold on the real. The St. Cecilia of Raphael may be regarded as a representation of this transition. To the real, then, we now turn in the following book.

FOURTH BOOK. THE WORLD AS WILL.

Second Aspect. The Assertion And Denial Of The Will To Live, When Self-Consciousness Has Been Attained.

Tempore quo cognitio simul advenit, amor e medio
supersurrexit.—_Oupnek’hat,_
_Studio Anquetil Duperron_, vol. ii. p. 216.

§ 53. The last part of our work presents itself as the most serious, for it relates to the action of men, the matter which concerns every one directly and can be foreign or indifferent to none. It is indeed so characteristic of the nature of man to relate everything else to action, that in every systematic investigation he will always treat the part that has to do with action as the result or outcome of the whole work, so far, at least, as it interests him, and will therefore give his most serious attention to this part, even if to no other. In this respect the following part of our work would, in ordinary language, be called practical philosophy, in opposition to the theoretical, which has occupied us hitherto. But, in my opinion, all philosophy is theoretical, because it is essential to it that it should retain a purely contemplative attitude, and should investigate, not prescribe. To become, on the contrary, practical, to guide conduct, to transform character, are old claims, which with fuller insight it ought finally to give up. For here, where the worth or worthlessness of an existence, where salvation or damnation are in question, the dead conceptions of philosophy do not decide the matter, but the inmost nature of man himself, the Dæmon that guides him and that has not chosen him, but been chosen by him, as Plato would say; his intelligible character, as Kant expresses himself. Virtue cannot be taught any more than genius; indeed, for it the concept is just as unfruitful as it is in art, and in both cases can only be used as an instrument. It would, therefore, be just as absurd to expect that our moral systems and ethics will produce virtuous, noble, and holy men, as that our æsthetics will produce poets, painters, and musicians.

Philosophy can never do more than interpret and explain what is given. It can only bring to distinct abstract knowledge of the reason the nature of the world which in the concrete, that is, as feeling, expresses itself comprehensibly to every one. This, however, it does in every possible reference and from every point of view. Now, as this attempt has been made from other points of view in the three preceding books with the generality that is proper to philosophy, in this book the action of men will be considered in the same way; and this side of the world might, indeed, be considered the most important of all, not only subjectively, as I remarked above, but also objectively. In considering it I shall faithfully adhere to the method I have hitherto followed, and shall support myself by presupposing all that has already been advanced. There is, indeed, just one thought which forms the content of this whole work. I have endeavoured to work it out in all other spheres, and I shall now do so with regard to human action. I shall then have done all that is in my power to communicate it as fully as possible.

The given point of view, and the method of treatment announced, are themselves sufficient to indicate that in this ethical book no precepts, no doctrine of duty must be looked for; still less will a general moral principle be given, an universal receipt, as it were, for the production of all the virtues. Neither shall we talk of an “_absolute ought_,” for this contains a contradiction, as is explained in the Appendix; nor yet of a “_law of freedom_,” which is in the same position. In general, we shall not speak at all of “ought,” for this is how one speaks to children and to nations still in their childhood, but not to those who have appropriated all the culture of a full-grown age. It is a palpable contradiction to call the will free, and yet to prescribe laws for it according to which it ought to will. “Ought to will!”—wooden iron! But it follows from the point of view of our system that the will is not only free, but almighty. From it proceeds not only its action, but also its world; and as the will is, so does its action and its world become. Both are the self-knowledge of the will and nothing more. The will determines itself, and at the same time both its action and its world; for besides it there is nothing, and these are the will itself. Only thus is the will truly autonomous, and from every other point of view it is heteronomous. Our philosophical endeavours can only extend to exhibiting and explaining the action of men in its inner nature and content, the various and even opposite maxims, whose living expression it is. This we shall do in connection with the preceding portion of our work, and in precisely the same way as we have hitherto explained the other phenomena of the world, and have sought to bring their inmost nature to distinct abstract knowledge. Our philosophy will maintain the same _immanency_ in the case of action, as in all that we have hitherto considered. Notwithstanding Kant’s great doctrine, it will not attempt to use the forms of the phenomenon, the universal expression of which is the principle of sufficient reason, as a leaping-pole to jump over the phenomenon itself, which alone gives meaning to these forms, and land in the boundless sphere of empty fictions. But this actual world of experience, in which we are, and which is in us, remains both the material and the limits of our consideration: a world which is so rich in content that even the most searching investigation of which the human mind is capable could not exhaust it. Since then the real world of experience will never fail to afford material and reality to our ethical investigations, any more than to those we have already conducted, nothing will be less needful than to take refuge in negative conceptions void of content, and then somehow or other make even ourselves believe that we are saying something when we speak with lifted eyebrows of “absolutes,” “infinites,” “supersensibles,” and whatever other mere negations of this sort there may be (ουδεν εστι, η το της στερησεως ονομα, μετα αμυδρας επινοιας—_nihil est, nisi negationis nomen, cum obscura notione_.—Jul. or. 5), instead of which it would be shorter to say at once cloud-cuckoo-town (νεφελοκοκκυγια): we shall not require to serve up covered empty dishes of this kind. Finally, we shall not in this book, any more than in those which have preceded it, narrate histories and give them out as philosophy. For we are of opinion that whoever supposes that the inner nature of the world can in any way, however plausibly disguised, be _historically_ comprehended, is infinitely far from a philosophical knowledge of the world. Yet this is what is supposed whenever a “becoming,” or a “having become,” or an “about to become” enters into a theory of the nature of the world, whenever an earlier or a later has the least place in it; and in this way a beginning and an end of the world, and the path it pursues between them, is, either openly or disguisedly, both sought for and found, and the individual who philosophises even recognises his own position on that path. Such _historical philosophising_ in most cases produces a cosmogony which admits of many varieties, or else a system of emanations, a doctrine of successive disengagements from one being; or, finally, driven in despair from fruitless efforts upon these paths to the last path of all, it takes refuge in the converse doctrine of a constant becoming, springing up, arising, coming to light out of darkness, out of the hidden ground source or groundlessness, or whatever other nonsense of this sort there may be, which is most shortly disposed of with the remark that at the present moment a whole eternity, _i.e._, an endless time, has already passed, so that everything that can or ought to become must have already done so. For all such historical philosophy, whatever airs it may give itself, regards _time_ just as if Kant had never lived, as a quality of the thing-in-itself, and thus stops at that which Kant calls the phenomenon in opposition to the thing-in-itself; which Plato calls the becoming and never being, in opposition to the being and never becoming; and which, finally, is called in the Indian philosophy the web of Mâya. It is just the knowledge which belongs to the principle of sufficient reason, with which no one can penetrate to the inner nature of things, but endlessly pursues phenomena, moving without end or aim, like a squirrel in its wheel, till, tired out at last, he stops at some point or other arbitrarily chosen, and now desires to extort respect for it from others also. The genuine philosophical consideration of the world, _i.e._, the consideration that affords us a knowledge of its inner nature, and so leads us beyond the phenomenon, is precisely that method which does not concern itself with the whence, the whither, and the why of the world, but always and everywhere demands only the what; the method which considers things not according to any relation, not as becoming and passing away, in short, not according to one of the four forms of the principle of sufficient reason; but, on the contrary, just that which remains when all that belongs to the form of knowledge proper to that principle has been abstracted, the inner nature of the world, which always appears unchanged in all the relations, but is itself never subject to them, and has the Ideas of the world as its object or material. From such knowledge as this proceeds philosophy, like art, and also, as we shall see in this book, that disposition of mind which alone leads to true holiness and to deliverance from the world.

§ 54. The first three books will, it is hoped, have conveyed the distinct and certain knowledge that the world as idea is the complete mirror of the will, in which it knows itself in ascending grades of distinctness and completeness, the highest of which is man, whose nature, however, receives its complete expression only through the whole connected series of his actions. The self-conscious connection of these actions is made possible by reason, which enables a man constantly to survey the whole in the abstract.

The will, which, considered purely in itself, is without knowledge, and is merely a blind incessant impulse, as we see it appear in unorganised and vegetable nature and their laws, and also in the vegetative part of our own life, receives through the addition of the world as idea, which is developed in subjection to it, the knowledge of its own willing and of what it is that it wills. And this is nothing else than the world as idea, life, precisely as it exists. Therefore we called the phenomenal world the mirror of the will, its objectivity. And since what the will wills is always life, just because life is nothing but the representation of that willing for the idea, it is all one and a mere pleonism if, instead of simply saying “the will,” we say “the will to live.”

Will is the thing-in-itself, the inner content, the essence of the world. Life, the visible world, the phenomenon, is only the mirror of the will. Therefore life accompanies the will as inseparably as the shadow accompanies the body; and if will exists, so will life, the world, exist. Life is, therefore, assured to the will to live; and so long as we are filled with the will to live we need have no fear for our existence, even in the presence of death. It is true we see the individual come into being and pass away; but the individual is only phenomenal, exists only for the knowledge which is bound to the principle of sufficient reason, to the _principio individuationis_. Certainly, for this kind of knowledge, the individual receives his life as a gift, rises out of nothing, then suffers the loss of this gift through death, and returns again to nothing. But we desire to consider life philosophically, _i.e._, according to its Ideas, and in this sphere we shall find that neither the will, the thing-in-itself in all phenomena, nor the subject of knowing, that which perceives all phenomena, is affected at all by birth or by death. Birth and death belong merely to the phenomenon of will, thus to life; and it is essential to this to exhibit itself in individuals which come into being and pass away, as fleeting phenomena appearing in the form of time—phenomena of that which in itself knows no time, but must exhibit itself precisely in the way we have said, in order to objectify its peculiar nature. Birth and death belong in like manner to life, and hold the balance as reciprocal conditions of each other, or, if one likes the expression, as poles of the whole phenomenon of life. The wisest of all mythologies, the Indian, expresses this by giving to the very god that symbolises destruction, death (as Brahma, the most sinful and the lowest god of the Trimurti, symbolises generation, coming into being, and Vishnu maintaining or preserving), by giving, I say, to Siva as an attribute not only the necklace of skulls, but also the lingam, the symbol of generation, which appears here as the counterpart of death, thus signifying that generation and death are essentially correlatives, which reciprocally neutralise and annul each other. It was precisely the same sentiment that led the Greeks and Romans to adorn their costly sarcophagi, just as we see them now, with feasts, dances, marriages, the chase, fights of wild beasts, bacchanalians, &c.; thus with representations of the full ardour of life, which they place before us not only in such revels and sports, but also in sensual groups, and even go so far as to represent the sexual intercourse of satyrs and goats. Clearly the aim was to point in the most impressive manner away from the death of the mourned individual to the immortal life of nature, and thus to indicate, though without abstract knowledge, that the whole of nature is the phenomenon and also the fulfilment of the will to live. The form of this phenomenon is time, space, and causality, and by means of these individuation, which carries with it that the individual must come into being and pass away. But this no more affects the will to live, of whose manifestation the individual is, as it were, only a particular example or specimen, than the death of an individual injures the whole of nature. For it is not the individual, but only the species that Nature cares for, and for the preservation of which she so earnestly strives, providing for it with the utmost prodigality through the vast surplus of the seed and the great strength of the fructifying impulse. The individual, on the contrary, neither has nor can have any value for Nature, for her kingdom is infinite time and infinite space, and in these infinite multiplicity of possible individuals. Therefore she is always ready to let the individual fall, and hence it is not only exposed to destruction in a thousand ways by the most insignificant accident, but originally destined for it, and conducted towards it by Nature herself from the moment it has served its end of maintaining the species. Thus Nature naïvely expresses the great truth that only the Ideas, not the individuals, have, properly speaking, reality, _i.e._, are complete objectivity of the will. Now, since man is Nature itself, and indeed Nature at the highest grade of its self-consciousness, but Nature is only the objectified will to live, the man who has comprehended and retained this point of view may well console himself, when contemplating his own death and that of his friends, by turning his eyes to the immortal life of Nature, which he himself is. This is the significance of Siva with the lingam, and of those ancient sarcophagi with their pictures of glowing life, which say to the mourning beholder, _Natura non contristatur_.

That generation and death are to be regarded as something belonging to life, and essential to this phenomenon of the will, arises also from the fact that they both exhibit themselves merely as higher powers of the expression of that in which all the rest of life consists. This is through and through nothing else than the constant change of matter in the fixed permanence of form; and this is what constitutes the transitoriness of the individual and the permanence of the species. Constant nourishment and renewal differ from generation only in degree, and constant excretion differs only in degree from death. The first shows itself most simply and distinctly in the plant. The plant is throughout a constant recurrence of the same impulse of its simplest fibre, which groups itself into leaf and branch. It is a systematic aggregate of similar plants supporting each other, whose constant reproduction is its single impulse. It ascends to the full satisfaction of this tendency through the grades of its metamorphosis, finally to the blossom and fruit, that compendium of its existence and effort in which it now attains, by a short way, to that which is its single aim, and at a stroke produces a thousand-fold what, up till then, it effected only in the particular case—the repetition of itself. Its earlier growth and development stands in the same relation to its fruit as writing stands to printing. With the animal it is clearly quite the same. The process of nourishing is a constant reproduction; the process of reproduction is a higher power of nourishing. The pleasure which accompanies the act of procreation is a higher power of the agreeableness of the sense of life. On the other hand, excretion, the constant exhalation and throwing off of matter, is the same as that which, at a higher power, death, is the contrary of generation. And if here we are always content to retain the form without lamenting the discarded matter, we ought to bear ourselves in the same way if in death the same thing happens, in a higher degree and to the whole, as takes place daily and hourly in a partial manner in excretion: if we are indifferent to the one, we ought not to shrink from the other. Therefore, from this point of view, it appears just as perverse to desire the continuance of an individuality which will be replaced by other individuals as to desire the permanence of matter which will be replaced by other matter. It appears just as foolish to embalm the body as it would be carefully to preserve its excrement. As to the individual consciousness which is bound to the individual body, it is absolutely interrupted every day by sleep. Deep sleep is, while it lasts, in no way different from death, into which, in fact, it often passes continuously, as in the case of freezing to death. It differs only with regard to the future, the awaking. Death is a sleep in which individuality is forgotten; everything else wakes again, or rather never slept.(64)

Above all things, we must distinctly recognise that the form of the phenomenon of will, the form of life or reality, is really only the _present_, not the future nor the past. The latter are only in the conception, exist only in the connection of knowledge, so far as it follows the principle of sufficient reason. No man has ever lived in the past, and none will live in the future; the _present_ alone is the form of all life, and is its sure possession which can never be taken from it. The present always exists, together with its content. Both remain fixed without wavering, like the rainbow on the waterfall. For life is firm and certain in the will, and the present is firm and certain in life. Certainly, if we reflect on the thousands of years that are past, of the millions of men who lived in them, we ask, What were they? what has become of them? But, on the other hand, we need only recall our own past life and renew its scenes vividly in our imagination, and then ask again, What was all this? what has become of it? As it is with it, so is it with the life of those millions. Or should we suppose that the past could receive a new existence because it has been sealed by death? Our own past, the most recent part of it, and even yesterday, is now no more than an empty dream of the fancy, and such is the past of all those millions. What was? What is? The will, of which life is the mirror, and knowledge free from will, which beholds it clearly in that mirror. Whoever has not yet recognised this, or will not recognise it, must add to the question asked above as to the fate of past generations of men this question also: Why he, the questioner, is so fortunate as to be conscious of this costly, fleeting, and only real present, while those hundreds of generations of men, even the heroes and philosophers of those ages, have sunk into the night of the past, and have thus become nothing; but he, his insignificant ego, actually exists? or more shortly, though somewhat strangely: Why this now, his now, _is_ just now and _was_ not long ago? Since he asks such strange questions, he regards his existence and his time as independent of each other, and the former as projected into the latter. He assumes indeed two nows—one which belongs to the object, the other which belongs to the subject, and marvels at the happy accident of their coincidence. But in truth, only the point of contact of the object, the form of which is time, with the subject, which has no mode of the principle of sufficient reason as its form, constitutes the present, as is shown in the essay on the principle of sufficient reason. Now all object is the will so far as it has become idea, and the subject is the necessary correlative of the object. But real objects are only in the present; the past and the future contain only conceptions and fancies, therefore the present is the essential form of the phenomenon of the will, and inseparable from it. The present alone is that which always exists and remains immovable. That which, empirically apprehended, is the most transitory of all, presents itself to the metaphysical vision, which sees beyond the forms of empirical perception, as that which alone endures, the _nunc stans_ of the schoolmen. The source and the supporter of its content is the will to live or the thing-in-itself,—which we are. That which constantly becomes and passes away, in that it has either already been or is still to be, belongs to the phenomenon as such on account of its forms, which make coming into being and passing away possible. Accordingly, we must think:—_Quid fuit?_—_Quod est._ _Quid erit?_—_Quod fuit;_ and take it in the strict meaning of the words; thus understand not _simile_ but _idem_. For life is certain to the will, and the present is certain to life. Thus it is that every one can say, “I am once for all lord of the present, and through all eternity it will accompany me as my shadow: therefore I do not wonder where it has come from, and how it happens that it is exactly now.” We might compare time to a constantly revolving sphere; the half that was always sinking would be the past, that which was always rising would be the future; but the indivisible point at the top, where the tangent touches, would be the extensionless present. As the tangent does not revolve with the sphere, neither does the present, the point of contact of the object, the form of which is time, with the subject, which has no form, because it does not belong to the knowable, but is the condition of all that is knowable. Or, time is like an unceasing stream, and the present a rock on which the stream breaks itself, but does not carry away with it. The will, as thing-in-itself, is just as little subordinate to the principle of sufficient reason as the subject of knowledge, which, finally, in a certain regard is the will itself or its expression. And as life, its own phenomenon, is assured to the will, so is the present, the single form of real life. Therefore we have not to investigate the past before life, nor the future after death: we have rather to know the _present_, the one form in which the will manifests itself.(65) It will not escape from the will, but neither will the will escape from it. If, therefore, life as it is satisfies, whoever affirms it in every way may regard it with confidence as endless, and banish the fear of death as an illusion that inspires him with the foolish dread that he can ever be robbed of the present, and foreshadows a time in which there is no present; an illusion with regard to time analogous to the illusion with regard to space through which every one imagines the position on the globe he happens to occupy as above, and all other places as below. In the same way every one links the present to his own individuality, and imagines that all present is extinguished with it; that then past and future might be without a present. But as on the surface of the globe every place is above, so the form of all life is the _present_, and to fear death because it robs us of the present, is just as foolish as to fear that we may slip down from the round globe upon which we have now the good fortune to occupy the upper surface. The present is the form essential to the objectification of the will. It cuts time, which extends infinitely in both directions, as a mathematical point, and stands immovably fixed, like an everlasting mid-day with no cool evening, as the actual sun burns without intermission, while it only seems to sink into the bosom of night. Therefore, if a man fears death as his annihilation, it is just as if he were to think that the sun cries out at evening, “Woe is me! for I go down into eternal night.”(66) And conversely, whoever is oppressed with the burden of life, whoever desires life and affirms it, but abhors its torments, and especially can no longer endure the hard lot that has fallen to himself, such a man has no deliverance to hope for from death, and cannot right himself by suicide. The cool shades of Orcus allure him only with the false appearance of a haven of rest. The earth rolls from day into night, the individual dies, but the sun itself shines without intermission, an eternal noon. Life is assured to the will to live; the form of life is an endless present, no matter how the individuals, the phenomena of the Idea, arise and pass away in time, like fleeting dreams. Thus even already suicide appears to us as a vain and therefore a foolish action; when we have carried our investigation further it will appear to us in a still less favourable light.

Dogmas change and our knowledge is deceptive; but Nature never errs, her procedure is sure, and she never conceals it. Everything is entirely in Nature, and Nature is entire in everything. She has her centre in every brute. It has surely found its way into existence, and it will surely find its way out of it. In the meantime it lives, fearless and without care, in the presence of annihilation, supported by the consciousness that it is Nature herself, and imperishable as she is. Man alone carries about with him, in abstract conceptions, the certainty of his death; yet this can only trouble him very rarely, when for a single moment some occasion calls it up to his imagination. Against the mighty voice of Nature reflection can do little. In man, as in the brute which does not think, the certainty that springs from his inmost consciousness that he himself is Nature, the world, predominates as a lasting frame of mind; and on account of this no man is observably disturbed by the thought of certain and never-distant death, but lives as if he would live for ever. Indeed this is carried so far that we may say that no one has really a lively conviction of the certainty of his death, otherwise there would be no great difference between his frame of mind and that of a condemned criminal. Every one recognises that certainty in the abstract and theoretically, but lays it aside like other theoretical truths which are not applicable to practice, without really receiving it into his living consciousness. Whoever carefully considers this peculiarity of human character will see that the psychological explanations of it, from habit and acquiescence in the inevitable, are by no means sufficient, and that its true explanation lies in the deeper ground we have given. The same fact explains the circumstance that at all times and among all peoples dogmas of some kind or other relating to the continued existence of the individual after death arise, and are believed in, although the evidence in support of them must always be very insufficient, and the evidence against them forcible and varied. But, in truth, this really requires no proof, but is recognised by the healthy understanding as a fact, and confirmed by the confidence that Nature never lies any more than she errs, but openly exhibits and naïvely expresses her action and her nature, while only we ourselves obscure it by our folly, in order to establish what is agreeable to our limited point of view.