  By the 1870s, Arthur Schopenhauer’s philosophy had gained, in Nietzsche’s words “ascendency in Europe” (GM III, §5). Indeed, late-19th and early-20th century philosophers, writers, composers and artists such as Nietzsche, Wagner, Brahms, Freud, Wittgenstein, Horkheimer, Hardy, Mann, Rilke, Proust, Tolstoy, Borges, Mahler, Langer and Schönberg were influenced by Schopenhauer’s thought.   Recognition came late in his life, however, starting only in 1853 with the publication of a review article by J. Oxenford.  Until then, Schopenhauer labored in relative obscurity, despite the publication of numerous works such as: On the Fourfold Root of the Principle of Sufficient Reason (his doctoral dissertation published in 1813, revised 1847), On Vision and Colors (1816), his magnum opus The World as Will and Representation (1818/9; second, revised edition with a second volume of essays 1844), On the Will in Nature (1836), On the Freedom of the Will (which won a prize from the Royal Norwegian Society of Sciences in 1839), On the Basis of Morals (which did not win the prize from the Danish Royal Society of Sciences despite its being the only entry for the competition), and two volumes of Parerga and Paralipomena (1851).