Abstract

Art, as discussed in the third book of Arthur Schopenhauer’s The World as Will and Representation, plays a double role in his philosophical system. On one hand, beholding an object of aesthetic worth provides the spectator with a temporary cessation of the otherwise incessant suffering that Schopenhauer takes life to be; on the other, art creates an epistemological bridge between ourselves and the world as it really is: unlike science which only studies relations between things, contemplation of art leads to knowledge of that which is “alone really essential to the world, the true content of its phenomena.” (WWR1: 184) It is this second aspect of Schopenhauer's aesthetics that is both appealing and curious: while Schopenhauer's aesthetics and epistemology are both rooted in his picture of the world as Will, which is (taken at face value) deeply counter-intuitive, it yet seems to me that by assigning epistemic value to art, he manages to capture the quality of profundity with which certain works of art strike us – a profundity that is accounted for neither by reference to mere enjoyment nor by reference to paraphrasable, propositional knowledge.