For our immediate purpose the main interest of Schopenhauer's position is its abstractness which is complementary to the vast historical complexity of Hegelianism. History for him is unessential to the idea only the eternal types which are framed within it are able to represent for example the idea of man. For knowledge of phenomena the true method is that of the understanding with its clear relations according to the law of sufficient reason for knowledge of reality the visions of art. The moving concrete of reason seems nonsense to him his ideas correspond to the fixity of species in everything he prefers the definite and the permanent.
The beauty of the beautiful for Schopenhauer has two sides it frees us from the will cations an j therefore from the whole apparatus that attends our greatest vice and misfortune the will to live from explanation causation means and ends purpose desire 6 and on the other hand it fills our minds with an idea an objecti fication of the will at a certain grade which we see in and as the essence of the merely particular object presented to our aesthetic perception As everything is in some degree an objectification of the will everything is in some degree characteristic and in some degree beautiful There is no further difference between art and nature than that in art the artist lends us his eyes to look through.
Music the analogy of which to architecture is very reasonably treated the enormous difference between the two arts being duly emphasized is placed by itself outside and above the series of the other arts. It is not like them the copy of the ideas but the copy of the will itself whose objectivity they are. The expression is mystical as in Schopenhauer's whole conception of the will in the universe.