6. Arthur Schopenhauer

Schopenhauer stayed in Dresden until September 1818, a period dedicated to the completion of his main work "The World as Will and Representation". New ideas were added to those developed in Göttingen, Berlin and Weimar and initially recorded in short aphorisms. Frauenstädt published a number of these aphorisms in his book "Aus Schopenhauers Nachlaß". Schopenhauer lived in particularly happy circumstances while he was writing them. His creative energy was stimulated by his contact with men of letters, who held him in high esteem for his abilities. The picture gallery and the collection of antique statues satisfied his aesthetic needs. They stimulated his thinking about art and artistic creation. From March 1817 to March 1818, he summarized the individual ideas of his philosophy into a whole. The remarks on perception, which were already contained in the work on colors, also form the beginning of "The World as Will and Representation". The intellect creates the external world and brings its phenomena into a context according to the law of cause and consequence, which has the four forms indicated. Kant ascribed twelve modes of connection (categories) to the intellect; Schopenhauer can only recognize those of reason and consequence (causality). Through the intellect we have given the vivid world. In addition to the intellect, reason is also active in man. It forms concepts from the views. It seeks out what different views have in common and forms abstract units from them. In this way it brings larger parts of experience under one thought. As a result, man does not merely live in his immediate present view, but can draw conclusions about the future from past and present events. He gains an overview of life and can also organize his actions accordingly. This distinguishes him from the animal. The latter has views, but no concepts of reason. Its actions are determined by the impressions of the immediate present. Man is guided by his reason. But reason cannot generate content on its own. It is only the reflection of the visual world. Therefore, it cannot produce moral ideals that are independent of experience and that shine before action as an unconditionally commanding ought, as Kant and Fichte claim. The rules according to which man organizes his actions are taken from his life experiences. Understanding and reason have their organ in the brain. Without the brain there are no views and no concepts. The whole world of imagination is a phenomenon of the brain. In itself there is only the will. This contains no moral ideals; we know it only as a dark urge, as an eternal striving. It gives rise to the brain and thus to understanding and reason. The brain creates the objective world, which man surveys as experience subject to the law of reason. The ideas are arranged spatially and temporally. They form nature in this order. The will is non-spatial and non-temporal, for space and time are created by the cognizing consciousness. The will is therefore a unity in itself; it is one and the same in all phenomena. As an appearance, the world consists of a multiplicity of things or individuals. As a thing in itself it is a wholeness. The individuals arise when consciousness confronts the object as subject and observes it according to the law of the ground. But there is another way of looking at it. Man can go beyond the mere individual. He can seek in the individual thing that which is independent of space, time and causality. In every individual there is something permanent that is not limited to the individual object. A particular horse is conditioned by the causes from which it emerged. But there is something in the horse that remains, even if the horse is destroyed again. This something that remains is not only contained in this particular horse, but in every horse. It cannot be produced by the causes which only bring about the creation of this one particular horse. That which remains is the idea of the horse. The causes embody this idea only in a single individual. The idea is therefore not subject to space, time and causality. It is therefore closer to the will than the individual. The idea is not directly contained anywhere in nature. Man only sees it when he looks away from the individual nature of things. This happens through the imagination. The material embodiment of ideas is art. The artist does not copy nature, but imprints on matter what his imagination sees. Music is an exception. It does not embody ideas. For even if ideas are not directly contained in nature, the imagination can only extract them from nature by searching for what remains in individuals. These are the models of art. Music, however, has no model in nature. Musical works of art do not depict anything in nature. Man creates them out of himself. But since there is nothing in him, apart from ideas and concepts, that he could represent other than the will, music is the direct image of the will. It speaks so much to the human mind because it is the embodiment of that which constitutes the innermost essence, the true being of man. This view of music is rooted in ideas that we find in Schopenhauer long before he became involved in philosophy. As a Hamburg merchant's apprentice, he wrote to his mother: "How did the heavenly seed find room on our hard soil, on which necessity and shortcomings fight for every little place? We are banished from the primal spirit and are not meant to reach it.... And yet a compassionate angel has implored the heavenly flower for us and it is rooted high in full glory on this soil of misery. - The pulsations of the divine art of music have not ceased to beat through the centuries of barbarism, and a direct echo of the eternal has remained in it, comprehensible to every sense and elevated even above vice and virtue." This idea of youth confronts us in philosophical form in Schopenhauer's main work.