Arthur Schopenhauer (1788-1860) was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his work as a whole: his philosophical idealism and debt to th.

On the Vanity of Existence is one of Arthur Schopenhauer's classics.

This collection of thirty-one essays encompasses Schopenhauer's central contributions, his influences, and the scope of his impact, especially on the arts and philosophy. Six sections cover the wide range of his thought, including its connection to religion, ethics, and art, as well as his influence and legacy.

A fascinating examination of ethics, religion and psychology, this selection of Schopenhauer's works contains scathing attack on the nature and logic of religion, and an essay on ethics that ranges from the American slavery debate to the vices of Buddhism. Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

An exploration of the complex and interesting relations between Nietzsche's philosophical thought and the Buddhist philosophy which he admired and opposed. The volume will appeal to students and scholars interested in Nietzsche's philosophy, Buddhist thought and in the metaphysical, existential and ethical issues that emerge with the demise of theism.

The present edition, revised and enlarged by the author himself, presents the old genuine Buddha doctrine with the aim of developing a new type of man, free from prejudices and intent on working out his own future with his self as the light. It represents not only the flower of Indian religious feeling and philosophy but also the crowning summit of religious introspection in general. The book deals with Truth as the theme and basis of the doctrine of the Buddha. It explains (1) Truth, Critrine, World and subject of suffering, (2) Truth of the arising of suffering, (3) Truth of the annihilation of suffering, (4) Truth of the path leading to the annihilation of suffering. The author presents the highest knowledge, the supreme reality to which Buddha is awakened, in so cogent a form, free from mythological and mythical clothing that it becomes positively self-evident to the reader. The study is prefixed with an Introduction and Appendix--as important as the text itself. Introduction answers the queries 'Who was the Buddha?' 'What is a Buddha?' and depicts the method of handing down the 'Marvel'. The Appendix deals with the Doctrine, the Metaphysics of the Buddha, Right cognition etc. There are four indexes: (1) Index of quotations from the Pali texts, (2) General Index, (3) Index of proper names (4) Pali and Sanskrit Index. An exhaustive Bibliography supplies the gap in our knowledge of Buddhist literature.

Beckett and Buddhism undertakes a twenty-first-century reassessment of the Buddhist resonances in Samuel Beckett's writing. These reverberations, as Angela Moorjani demonstrates, originated in his early reading of Schopenhauer. Drawing on letters and archives along with recent studies of Buddhist thought and Schopenhauer's knowledge of it, the book charts the Buddhist concepts circling through Beckett's visions of the 'human predicament' in a blend of tears and laughter. Moorjani offers an in-depth elucidation of texts that are shown to intersect with the negative and paradoxical path of the Buddha, which she sets in dialogue with Western thinking. She brings further perspectives from cognitive philosophy and science to bear on creative emptiness, the illusory 'I', and Beckett's probing of the writing process. Readers will benefit from this far-reaching study of one of the most acclaimed writers of the twentieth century who explored uncharted topologies in his fiction, theatre, and poetry.

“A tour de force that both challenges and expands our understanding of the very practice of philosophy . . . and comparative philosophy in particular” (Joseph Markowski, Reading Religion). In Nietzche and Other Buddhas, author Jason M. Wirth brings major East Asian Buddhist thinkers into radical dialogue with key Continental philosophers through a series of exercises that pursue what is traditionally called comparative or intercultural philosophy. In the process, he reflects on what makes such exercises possible and intelligible. The primary questions Wirth asks are: How does this particular engagement and confrontation challenge and radicalize what is sometimes called comparative or intercultural philosophy? How does this task reconsider what is meant by philosophy? The confrontations that Wirth sets up between Dogen, Hakuin, Linji, Shinran, Nietzsche, Schopenhauer, James, and Deleuze consider the nature of philosophy—and especially comparative philosophy—from a global perspective. This global perspective in turn opens up a new and challenging space of thought within and between the cutting edges of Western Continental philosophy and East Asian Buddhist practice.

Description: The common western understanding of Buddhism today envisions this major world religion as one of compassion and tolerance. But as the author Droit reveals, this view bears little resemblance to one broadly held in the nineteenth-century European philosophical imagination that saw Buddhism as a religion of annihilation calling for the destruction of the self. The Cult of Nothingness traces the history of the western discovery of Buddhism. In so doing, the author shows that such major philosophers as Schopenhauer, Nietzsche, Hegel, Cousin, and Renan imagined Buddhism as a religion that was, as Nietzsche put it, a negation of the world. In fact, says the author, such portrayals were more a reflection of what was happening in Europe at the time-when the collapse of traditional European hierarchies and values, the specter of atheism, and the rise of racism and social revolts were shaking European societies-than an accurate description of Buddhist thought. The author also reflects on how this history continues to echo in contemporary western understanding of Buddhism. The book includes a comprehensive bibliography on books on Buddhism published in the west between 1638 and 1890.

It is little known that Richard Wagner was among the very first Westerners to appreciate Buddhism and that he was the first major European artist to be inspired by this religion. In 1856, in the prime of his creativity, the 33-year-old artist read his first book about Buddhism. Madly in love with Mathilde Wesendonck, a beautiful but happily married woman, he conceived two deeply connected opera projects: Tristan und Isolde which he went on to compose and stage, and Die Sieger (The Victors), an opera scenario based on an Indian Buddha legend translated from Sanskrit. These two projects mirrored Wagner's burning desire for the consummation of his love and the necessity of renunciation. This Buddhist opera project occupied Wagner's mind for decades until his death in 1883. Indeed, the composer's last words were about the Buddha figure of his scenario and his relationship with women. Urs App, the author of The Birth of Orientalism (University of Pennsylvania Press) and the world's foremost authority on the early Western reception of Buddhism, tells the story of Richard Wagner's creative encounter with Buddhism and explains the composer's last words.