쇼펜하우어에 있어서 살려고 하는 의지의 미(美) = A beauty of the will-to-live in Schopenhauer

다국어 초록 (Multilingual Abstract)

The beauty in Schopenhauer is a representation of the will-to-live. How aesthetic nature is! Every little spot entirely uncultivated and wild, in other words, left free to nature herself, however small it may be, if only man's paws leave it alone, is at once decorated by her in the most tasteful manner, is draped with plants, flowers, and shrubs, whose easy unforced manner, natural grace, and delightful grouping testify that they have not grown up under the rod of correction of the great egoist, but that nature has been freely active. Every neglected little place at once becomes beautiful. On this rests the principle of English gardens, which is to conceal art as much as possible, so that it may look as if nature had been freely active. For only then is nature perfectly beautiful, in other words, shows in the greatest distinctness the objectification of the will-to-live that is still without knowledge.
But all the arts speak only the native and childlike language of perception, not the abstract and serious language of reflection; their answer is thus a fleeting image, not a permanent universal knowledge. Thus for perception, every work of art answers that question, every painting, every statue, every poem, every scene on the stage. Music also answer it, more profoundly indeed than do all the others, since in a language intelligible with absolute directness, yet not capable of translation into that of our faculty or reason, it expresses the innermost nature of all life and existence. Every work of art really endeavors to show us life and things as they are in reality; but these cannot be grasped directly by everyone through the mist of objective and subjective contingencies. Art takes away this mist.
Aesthetic satisfaction everywhere rests on the apprehension of a (Platonic) Idea. For architecture, considered only as fine art, the Ideas of the lowest grades of nature, that is, gravity, rigidity, and cohesion, are the proper theme, but not, as has been assumed hitherto, merely regular form, proportion, and symmetry. Our pleasure in the tragedy belongs not to the feeling of the beautiful, but to that of the sublime; it is, in fact, the highest degree of this feeling. For, just as at the sight of the sublime in nature we turn away from the interest of the will, in order to behave in a purely perceptive way, so in the tragic catastrophe we turn away from the will-to-live itself. Thus in the tragedy the terrible side of life is presented to us, the wailing and lamentation of mankind, the dominion of chance and error, the fall of the righteous, the triumph of the wicked; and so that aspect of the world is brought before our eyes which directly opposes our will.

목차 (Table of Contents)

• Ⅰ. 서 론
• Ⅱ. 미학의 본질과 표상
• Ⅲ. 예술론과 개별 예술
• Ⅳ. 후계자들에 미친 영향
• Ⅴ. 결 론
• 참고문헌