Part of the cause of pessimism, in Schopenhauer and his contemporaries, lay in their romantic attitudes and expectations. Youth expects too much of the· world; pessimism is the morning after optimism, just as 1815 had to pay for 1789. The romantic exaltation and liberation of feeling, instinct and will, and the romantic contempt for intellect, restraint, and order, brought their natural penalties; for “the world,” as Horace Walpole said, “is a comedy for those who think, but a tragedy for those who feel.”… Is it true that ”he that increaseth knowledge increaseth sorrow,” and that it is the most highly organized beings that suffer most? Yes; but it is also true that the growth of knowledge increases joy as well as sorrow, and that the subtlest delights, as well as the keenest pains, are reserved for the developed soul. Voltaire rightly preferred the Brahmin’s ”unhappy” to the blissful ignorance of the peasant woman; we wish to experience life keenly and deeply, even at the cost of pain; we wish to venture into its innermost secrets, even at the cost of disillusionment… There are other difficulties, more technical and less vital, in this remarkable and stimulating philosophy. How can suicide ever occur in a world where the only real force is the will to live? How can the intellect, begotten and brought up as servant of the will, ever achieve independence and objectivity? Does genius lie in knowledge divorced from will, or does it contain, as its driving force” an immense power of will, even a large alloy of personal ambition and. conceit? Is madness connected with genius in general, or rather with only the “romantic” type of genius (Byron, Shelley, Poe, Heine, Swinburne, Strindberg, Dostoievski, etc.); and is not the “classic” and profounder type of genius exceptionally sound (Socrates, Plato, Spinoza, Bacon, Newton, Voltaire, Goethe, Darwin, Whitman, etc.)? What if the proper function of intellect and philosophy is not the denial of the will but the coordination of desires into a united and harmonious, will? What if “will” itself, except as the unified product of such coordination, is a mythical abstraction, as shadowy as “force”?…

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "Part of the cause of pessimism, in Schopenhauer and his contemporaries, lay in their romantic attitudes and expectations. Youth expects too much of the· world; pessimism is the morning after optimism, just as 1815 had to pay for 1789. The romantic exaltation and liberation of feeling, instinct and will, and the romantic contempt for intellect, restraint, and order, brought their natural penalties; for “the world,” as Horace Walpole said, “is a comedy for those who think, but a tragedy for those who feel.”… Is it true that ”he that increaseth knowledge increaseth sorrow,” and that it is the most highly organized beings that suffer most? Yes; but it is also true that the growth of knowledge increases joy as well as sorrow, and that the subtlest delights, as well as the keenest pains, are reserved for the developed soul. Voltaire rightly preferred the Brahmin’s ”unhappy” to the blissful ignorance of the peasant woman; we wish to experience life keenly and deeply, even at the cost of pain; we wish to venture into its innermost secrets, even at the cost of disillusionment… There are other difficulties, more technical and less vital, in this remarkable and stimulating philosophy. How can suicide ever occur in a world where the only real force is the will to live? How can the intellect, begotten and brought up as servant of the will, ever achieve independence and objectivity? Does genius lie in knowledge divorced from will, or does it contain, as its driving force” an immense power of will, even a large alloy of personal ambition and. conceit? Is madness connected with genius in general, or rather with only the “romantic” type of genius (Byron, Shelley, Poe, Heine, Swinburne, Strindberg, Dostoievski, etc.); and is not the “classic” and profounder type of genius exceptionally sound (Socrates, Plato, Spinoza, Bacon, Newton, Voltaire, Goethe, Darwin, Whitman, etc.)? What if the proper function of intellect and philosophy is not the denial of the will but the coordination of desires into a united and harmonious, will? What if “will” itself, except as the unified product of such coordination, is a mythical abstraction, as shadowy as “force”?…" in the context of "Will Durant, Story of Philosophy" to mean that wisdom is timeless.