Page:The World as Will and Idea - Schopenhauer, tr. Haldane and Kemp - Volume 1.djvu/377

THE PLATONIC IDEA: THE OBJECT OF ART. 335 rising and falling occurs only by large intervals, in thirds, fourths, fifths, never by one tone, unless it is a base inverted by double counterpoint. This slow movement is also physically essential to it; a quick run or shake in the low notes cannot even be imagined. The higher complemental parts, which are parallel to animal life, move more quickly, but yet without melodious connection and significant progress. The disconnected course of all the complemental parts, and their regulation by definite laws, is analogous to the fact that in the whole irrational world, from the crystal to the most perfect animal, no being has a connected consciousness of its own which would make its life into a significant whole, and none experiences a succession of mental developments, none perfects itself by culture, but everything exists always in the same way according to its kind, determined by fixed law. Lastly, in the melody, in the high, singing, principal voice leading the whole and progressing with ' unrestrained freedom, in the unbroken significant connection of one thought from beginning to end representing a whole, I recognise the highest grade of the objectification of will, the intellectual life and effort of man. As he alone, because endowed with reason, constantly looks before and after on the path of his actual life and its innumerable possibilities, and so achieves a course of life which is intellectual, and therefore connected as a whole; corresponding to this, I say, the melody has significant intentional connection from beginning to end. It records, therefore, the history of the intellectually enlightened will. This will expresses itself in the actual world as the series of its deeds; but melody says more, it records the most secret history of this intellectually-enlightened will, pictures every excitement, every effort, every movement of it, all that which the reason collects under the wide and negative concept of feeling, and which it cannot apprehend further through its abstract concepts. Therefore it has always been said that music