Schopenhauer On Kant's Writing Style

In his essay, “Criticisms of The Kantian Philosophy” (Chapter: Appendix; The World as Will and Representation, Volume 1), Arthur Schopenhauer talks about Kant’s writing style:

"Kant's exposition is often indistinct, indefinite, inadequate, and occasionally obscure. This obscurity is certainly to be excused in part by the difficulty of the subject and the depth of the ideas. Yet whoever is himself clear to the bottom, and knows quite distinctly what he thinks and wants, will never write indistinctly, never set up wavering and indefinite concepts, or pick up from foreign languages extremely difficult and complicated expressions to denote such concepts, in order to continue using such expressions afterwards, as Kant took words and formulas from earlier, even scholastic, philosophy. These he combined with one another for his own purpose, as for example, "transcendental synthetic unity of apperception," and in general "unity of synthesis," which he always uses where "union" or "combination" would be quite sufficient by itself. Moreover, such a man will not always be explaining anew what has already been explained once, as Kant does, for example, with the understanding, the categories, experience, and other main concepts. Generally, such a man will not incessantly repeat himself, and yet, in every new presentation of an idea that has already occurred a hundred times, leave it again in precisely the same obscure passages. On the contrary, he will express his meaning once distinctly, thoroughly, and exhaustively, and leave it at that."

Schopenhauer laments that by his complicated style of writing, Kant legitimized the use of obscure language in philosophy and thereby enabled the madness of Hegel: "The public had been forced to see that what is obscure is not always without meaning; what was senseless and without meaning at once took refuge in obscure exposition and language. Fichte was the first to grasp and make vigorous use of this privilege; Schelling at least equalled him in this, and a host of hungry scribblers without intellect or honesty soon surpassed them both. But the greatest effrontery in serving up sheer nonsense, in scrabbling together senseless and maddening webs of words, such as had previously been heard only in madhouses, finally appeared in Hegel. It became the instrument of the most ponderous and general mystification that has ever existed, with a result that will seem incredible to posterity, and be a lasting monument of German stupidity."