Free-Will and Fatalism : Part 3

On Human Nature
by Arthur Schopenhauer

(Page 5 of 8)

Consequently, if the reader is not very attentive, a character exhibited at such great intervals, and its moral identity, may easily escape his notice, even though it has by no means escaped the poet's. He makes the earl appear everywhere with a noble and knightly grace, and talk in language suitable to it; nay, he sometimes puts very beautiful and even elevated passages, into his mouth. At the same time he is very far from writing after the manner of Schiller, who was fond of painting the devil black, and whose moral approval or disapproval of the characters which he presented could be heard in their own words. With Shakespeare, and also with Goethe, every character, as long as he is on the stage and speaking, seems to be absolutely in the right, even though it were the devil himself. In this respect let the reader compare Duke Alba as he appears in Goethe with the same character in Schiller.

We make the acquaintance of the Earl of Northumberland in the play of Richard II., where he is the first to hatch a plot against the King in favour of Bolingbroke, afterwards Henry IV., to whom he even offers some personal flattery (Act II., Sc. 3). In the following act he suffers a reprimand because, in speaking of the King he talks of him as "Richard," without more ado, but protests that he did it only for brevity's sake. A little later his insidious words induce the King to surrender. In the following act, when the King renounces the crown, Northumberland treats him with such harshness and contempt that the unlucky monarch is quite broken, and losing all patience once more exclaims to him: Fiend, thou torment'st me ere I come to hell! At the close, Northumberland announces to the new King that he has sent the heads of the former King's adherents to London.

In the following tragedy, Henry IV., he hatches a plot against the new King in just the same way. In the fourth act we see the rebels united, making preparations for the decisive battle on the morrow, and only waiting impatiently for Northumberland and his division. At last there arrives a letter from him, saying that he is ill, and that he cannot entrust his force to any one else; but that nevertheless the others should go forward with courage and make a brave fight. They do so, but, greatly weakened by his absence, they are completely defeated; most of their leaders are captured, and his own son, the valorous Hotspur, falls by the hand of the Prince of Wales.

Again, in the following play, the Second Part of Henry IV., we see him reduced to a state of the fiercest wrath by the death of his son, and maddened by the thirst for revenge. Accordingly he kindles another rebellion, and the heads of it assemble once more. In the fourth act, just as they are about to give battle, and are only waiting for him to join them, there comes a letter saying that he cannot collect a proper force, and will therefore seek safety for the present in Scotland; that, nevertheless, he heartily wishes their heroic undertaking the best success. Thereupon they surrender to the King under a treaty which is not kept, and so perish.

So far is character from being the work of reasoned choice and consideration that in any action the intellect has nothing to do but to present motives to the will. Thereafter it looks on as a mere spectator and witness at the course which life takes, in accordance with the influence of motive on the given character. All the incidents of life occur, strictly speaking, with the same necessity as the movement of a clock. On this point let me refer to my prize-essay on The Freedom of the Will. I have there explained the true meaning and origin of the persistent illusion that the will is entirely free in every single action; and I have indicated the cause to which it is due. I will only add here the following teleological explanation of this natural illusion.

Since every single action of a man's life seems to possess the freedom and originality which in truth only belong to his character as he apprehends it, and the mere apprehension of it by his intellect is what constitutes his career; and since what is original in every single action seems to the empirical consciousness to be always being performed anew, a man thus receives in the course of his career the strongest possible moral lesson. Then, and not before, he becomes thoroughly conscious of all the bad sides of his character. Conscience accompanies every act with the comment: You should act differently, although its true sense is: You could be other than you are.

As the result of this immutability of character on the one hand, and, on the other, of the strict necessity which attends all the circumstances in which character is successively placed, every man's course of life is precisely determined from Alpha right through to Omega. But, nevertheless, one man's course of life turns out immeasurably happier, nobler and more worthy than another's, whether it be regarded from a subjective or an objective point of view, and unless we are to exclude all ideas of justice, we are led to the doctrine which is well accepted in Brahmanism and Buddhism, that the subjective conditions in which, as well as the objective conditions under which, every man is born, are the moral consequences of a previous existence.

Macchiavelli, who seems to have taken no interest whatever in philosophical speculations, is drawn by the keen subtlety of his very unique understanding into the following observation, which possesses a really deep meaning. It shows that he had an intuitive knowledge of the entire necessity with which, characters and motives being given, all actions take place. He makes it at the beginning of the prologue to his comedy Clitia. If, he says, the same men were to recur in the world in the way that the same circumstances recur, a hundred years would never elapse without our finding ourselves together once more, and doing the same things as we are doing now - Se nel mondo tornassino i medesimi uomini, como tornano i medesimi casi, non passarebbono mai cento anni che noi non ci trovassimo un altra volta insieme, a fare le medesime cose che hora.

He seems however to have been drawn into the remark by a reminiscence of what Augustine says in his De Civitate Dei, bk. xii., ch. xiii.

Again, Fate, or the of the ancients, is nothing but the conscious certainty that all that happens is fast bound by a chain of causes, and therefore takes place with a strict necessity; that the future is already ordained with absolute certainty and can undergo as little alteration as the past. In the fatalistic myths of the ancients all that can be regarded as fabulous is the prediction of the future; that is, if we refuse to consider the possibility of magnetic clairvoyance and second sight.

Instead of trying to explain away the fundamental truth of Fatalism by superficial twaddle and foolish evasion, a man should attempt to get a clear knowledge and comprehension of it; for it is demonstrably true, and it helps us in a very important way to an understanding of the mysterious riddle of our life. Predestination and Fatalism do not differ in the main. They differ only in this, that with Predestination the given character and external determination of human action proceed from a rational Being, and with Fatalism from an irrational one. But in either case the result is the same: that happens which must happen.

About the Author

Arthur Schopenhauer (February 22, 1788 - September 21, 1860) was a German philosopher. He is most famous for his work The World as Will and Representation. Schopenhauer called himself a Kantian, but hurled invective at several other contemporary German philosophers who had been influenced by Kant. These included Hegel, Fichte, and Schelling. He formulated a pessimistic philosophy that gained importance and support after the failure of the German and Austrian revolutions of 1848.