title: Arthur Schopenhauer

text: In November 1813 Goethe invited Schopenhauer to help him on his Theory of Colours. Although Schopenhauer considered colour theory a minor matter, he accepted the invitation out of admiration for Goethe. Nevertheless, these investigations led him to his most important discovery in epistemology: finding a demonstration for the "a priori" nature of causality.


title: Arthur Schopenhauer

text: Kant openly admitted that it was Hume's skeptical assault on causality that motivated the critical investigations in his "Critique of Pure Reason" and gave an elaborate proof to show that causality is "a priori". After G. E. Schulze had made it plausible that Kant had not disproven Hume's skepticism, it was up to those loyal to Kant's project to prove this important matter.


title: Arthur Schopenhauer

text: The difference between the approaches of Kant and Schopenhauer was this: Kant simply declared that the empirical content of perception is "given" to us from outside, an expression with which Schopenhauer often expressed his dissatisfaction. He, on the other hand, was occupied with the questions: how do we get this empirical content of perception; how is it possible to comprehend subjective sensations "limited to my skin" as the objective perception of things that lie "outside" of me?


title: Arthur Schopenhauer

text: Causality is therefore not an empirical concept drawn from objective perceptions, as Hume had maintained; instead, as Kant had said, objective perception presupposes knowledge of causality.


title: Arthur Schopenhauer

text: By this intellectual operation, comprehending every effect in our sensory organs as having an external cause, the external world arises. With vision, finding the cause is essentially simplified due to light acting in straight lines. We are seldom conscious of the process that interprets the double sensation in both eyes as coming from one object, that inverts the impressions on the retinas, and that uses the change in the apparent position of an object relative to more distant objects provided by binocular vision to perceive depth and distance.


title: Arthur Schopenhauer

text: Schopenhauer stresses the importance of the intellectual nature of perception; the senses furnish the raw material by which the intellect produces the world as representation. He set out his theory of perception for the first time in "On Vision and Colors", and, in the subsequent editions of "Fourfold Root", an extensive exposition is given in § 21.


title: Arthur Schopenhauer

text: In Book Two of "The World as Will and Representation", Schopenhauer considers what the world is beyond the aspect of it that appears to us—that is, the aspect of the world beyond representation, the world considered "in-itself" or "noumena", its inner essence. The very being in-itself of all things, Schopenhauer argues, is will ("Wille"). The empirical world that appears to us as representation has plurality and is ordered in a spatio-temporal framework. The world as thing in-itself must exist outside the subjective forms of space and time. Although the world manifests itself to our experience as a multiplicity of objects (the "objectivation" of the will), each element of this multiplicity has the same blind essence striving towards existence and life. Human rationality is merely a secondary phenomenon that does not distinguish humanity from the rest of nature at the fundamental, essential level. The advanced cognitive abilities of human beings, Schopenhauer argues, serve the ends of willing—an illogical, directionless, ceaseless striving that condemns the human individual to a life of suffering unredeemed by any final purpose. Schopenhauer's philosophy of the will as the essential reality behind the world as representation is often called metaphysical voluntarism.


title: Arthur Schopenhauer

text: For Schopenhauer, understanding the world as will leads to ethical concerns (see the ethics section below for further detail), which he explores in the Fourth Book of "The World as Will and Representation" and again in his two prize essays on ethics, "On the Freedom of the Will" and "On the Basis of Morality". No individual human actions are free, Schopenhauer argues, because they are events in the world of appearance and thus are subject to the principle of sufficient reason: a person's actions are a necessary consequence of motives and the given character of the individual human. Necessity extends to the actions of human beings just as it does to every other appearance, and thus we cannot speak of freedom of individual willing. Albert Einstein quoted the Schopenhauerian idea that "a man can "do" as he will, but not "will" as he will." Yet the will as thing in-itself is free, as it exists beyond the realm of representation and thus is not constrained by any of the forms of necessity that are part of the principle of sufficient reason.


title: Arthur Schopenhauer

text: According to Schopenhauer, salvation from our miserable existence can come through the will's being "tranquillized" by the metaphysical insight that reveals individuality to be merely an illusion. The saint or 'great soul' intuitively "recognizes the whole, comprehends its essence, and finds that it is constantly passing away, caught up in vain strivings, inner conflict, and perpetual suffering". The negation of the will, in other words, stems from the insight that the world in-itself (free from the forms of space and time) is one. Ascetic practices, Schopenhauer remarks, are used to aid the will's "self-abolition", which brings about a blissful, redemptive "will-less" state of emptiness that is free from striving or suffering.


title: Arthur Schopenhauer

text: For Schopenhauer, human "willing"—desiring, craving, etc.—is at the root of suffering. A temporary way to escape this pain is through aesthetic contemplation. Here one moves away from ordinary cognizance of individual things to cognizance of eternal Platonic "Ideas"—in other words, cognizance that is free from the service of will. In aesthetic contemplation, one no longer perceives an object of perception as something from which one is separated; rather "it is as if the object alone existed without anyone perceiving it, and one can thus no longer separate the perceiver from the perception, but the two have become one, the entirety of consciousness entirely filled and occupied by a single perceptual image". Subject and object are no longer distinguishable, and the "Idea" comes to the fore.


title: Arthur Schopenhauer

text: From this aesthetic immersion, one is no longer an individual who suffers as a result of servitude to one's individual will but, rather, becomes a "pure, will-less, painless, timeless, subject of cognition". The pure, will-less subject of cognition is cognizant only of Ideas, not individual things: this is a kind of cognition that is unconcerned with relations between objects according to the Principle of Sufficient Reason (time, space, cause and effect) and instead involves complete absorption in the object.


title: Arthur Schopenhauer

text: Art is the practical consequence of this brief aesthetic contemplation, since it attempts to depict the essence/pure Ideas of the world. Music, for Schopenhauer, is the purest form of art because it is the one that depicts the will itself without it appearing as subject to the Principle of Sufficient Reason, therefore as an individual object. According to Daniel Albright, "Schopenhauer thought that music was the only art that did not merely copy ideas, but actually embodied the will itself". He deemed music a timeless, universal language comprehended everywhere, that can imbue global enthusiasm, if in possession of a significant melody.


title: Arthur Schopenhauer

text: Schopenhauer's realist views on mathematics are evident in his criticism of contemporaneous attempts to prove the parallel postulate in Euclidean geometry. Writing shortly before the discovery of hyperbolic geometry demonstrated the logical independence of the axiom—and long before the general theory of relativity revealed that it does not necessarily express a property of physical space—Schopenhauer criticized mathematicians for trying to use indirect concepts to prove what he held was directly evident from intuitive perception.


title: Arthur Schopenhauer

text: Throughout his writings, Schopenhauer criticized the logical derivation of philosophies and mathematics from mere concepts, instead of from intuitive perceptions.


title: Arthur Schopenhauer

text: Although Schopenhauer could see no justification for trying to prove Euclid's parallel postulate, he did see a reason for examining another of Euclid's axioms.


title: Arthur Schopenhauer

text: Schopenhauer asserts that the task of ethics is not to prescribe moral actions that ought to be done, but to investigate moral actions. As such, he states that philosophy is always theoretical: its task to explain what is given.


title: Arthur Schopenhauer

text: According to Kant's transcendental idealism, space and time are forms of our sensibility in which phenomena appear in multiplicity. Reality in itself is free from multiplicity, not in the sense that an object is one, but that it is outside the "possibility" of multiplicity. Two individuals, though they appear distinct, are in-themselves not distinct.


title: Arthur Schopenhauer

text: Appearances are entirely subordinated to the principle of sufficient reason. The egoistic individual who focuses his aims on his own interests has to deal with empirical laws as well as he can.


title: Arthur Schopenhauer

text: What is relevant for ethics are individuals who can act against their own self-interest. If we take a man who suffers when he sees his fellow men living in poverty and consequently uses a significant part of his income to support "their" needs instead of his "own" pleasures, then the simplest way to describe this is that he makes "less distinction between himself" and others than is usually made.


title: Arthur Schopenhauer

text: Regarding how things "appear" to us, the egoist asserts a gap between two individuals, but the altruist experiences the sufferings of others as his own. In the same way a compassionate man cannot hurt animals, though they appear as distinct from himself.


title: Arthur Schopenhauer

text: What motivates the altruist is compassion. The suffering of others is for him not a cold matter to which he is indifferent, but he feels connectiveness to all beings. Compassion is thus the basis of morality.


title: Arthur Schopenhauer

text: Schopenhauer calls the principle through which multiplicity appears the "principium individuationis". When we behold nature we see that it is a cruel battle for existence. Individual manifestations of the will can maintain themselves only at the expense of others—the will, as the only thing that exists, has no other option but to devour itself to experience pleasure. This is a fundamental characteristic of the will, and cannot be circumvented.


title: Arthur Schopenhauer

text: Unlike temporal or human justice, which requires time to repay an evil deed and "has its seat in the state, as requiting and punishing", eternal justice "rules not the state but the world, is not dependent upon human institutions, is not subject to chance and deception, is not uncertain, wavering, and erring, but infallible, fixed, and sure". Eternal justice is not retributive, because retribution requires time. There are no delays or reprieves. Instead, punishment is tied to the offence, "to the point where the two become one. ... Tormenter and tormented are one. The [Tormenter] errs in that he believes he is not a partaker in the suffering; the [tormented], in that he believes he is not a partaker in the guilt."


title: Arthur Schopenhauer

text: Suffering is the moral outcome of our attachment to pleasure. Schopenhauer deemed that this truth was expressed by the Christian dogma of original sin and, in Eastern religions, by the dogma of rebirth.


title: Arthur Schopenhauer

text: He who sees through the "principium individuationis" and comprehends suffering "in general" as his own will see suffering everywhere and, instead of fighting for the happiness of his individual manifestation, will abhor life itself since he knows that it is inseparably connected with suffering. For him, a happy individual life in a world of suffering is like a beggar who dreams one night that he is a king.


title: Arthur Schopenhauer

text: Those who have experienced this intuitive knowledge cannot affirm life, but exhibit asceticism and quietism, meaning that they are no longer sensitive to motives, are not concerned about their individual welfare, and accept without resistance the evil that others inflict on them. They welcome poverty and neither seek nor flee death. Schopenhauer referred to asceticism as the denial of the will to live.


title: Arthur Schopenhauer

text: Human life is a ceaseless struggle for satisfaction and, instead of continuing their struggle, ascetics break it. It does not matter if these ascetics adhere to the dogmata of Christianity or to Dharmic religions, since their way of living is the result of intuitive knowledge.


title: Arthur Schopenhauer

text: Philosophers have not traditionally been impressed by the necessity of sex, but Schopenhauer addressed sex and related concepts forthrightly:


title: Arthur Schopenhauer

text: He named a force within man that he felt took invariable precedence over reason: the Will to Live or Will to Life ("Wille zum Leben"), defined as an inherent drive within human beings, and all creatures, to stay alive; a force that inveigles us into reproducing.


title: Arthur Schopenhauer

text: Schopenhauer refused to conceive of love as either trifling or accidental, but rather understood it as an immensely powerful force that lay unseen within man's psyche, guaranteeing the quality of the human race:


title: Arthur Schopenhauer

text: It has often been argued that Schopenhauer's thoughts on sexuality foreshadowed the theory of evolution, a claim met with satisfaction by Darwin as he included a quotation from Schopenhauer in his "Descent of Man". This has also been noted about Freud's concepts of the libido and the unconscious mind, and evolutionary psychology in general.


title: Arthur Schopenhauer

text: Schopenhauer's politics were an echo of his system of ethics, which he elucidated in detail in his "Die beiden Grundprobleme der Ethik" (the two essays "On the Freedom of the Will" and "On the Basis of Morality").


title: Arthur Schopenhauer

text: In occasional political comments in his "Parerga and Paralipomena" and "Manuscript Remains", Schopenhauer described himself as a proponent of limited government. Schopenhauer shared the view of Thomas Hobbes on the necessity of the state and state action to check the innate destructive tendencies of our species. He also defended the independence of the legislative, judicial and executive branches of power, and a monarch as an impartial element able to practise justice (in a practical and everyday sense, not a cosmological one).


title: Arthur Schopenhauer

text: He declared that monarchy is "natural to man in almost the same way as it is to bees and ants, to cranes in flight, to wandering elephants, to wolves in a pack in search of prey, and to other animals". Intellect in monarchies, he writes, always has "much better chances against stupidity, its implacable and ever-present foe, than it has in republics; but this is a great advantage." On the other hand, Schopenhauer disparaged republicanism as being "as unnatural to man as it is unfavorable to higher intellectual life and thus to the arts and sciences".


title: Arthur Schopenhauer

text: By his own admission, Schopenhauer did not give much thought to politics, and several times he wrote proudly of how little attention he paid "to political affairs of [his] day". In a life that spanned several revolutions in French and German government, and a few continent-shaking wars, he maintained his position of "minding not the times but the eternities". He wrote many disparaging remarks about Germany and the Germans. A typical example is: "For a German it is even good to have somewhat lengthy words in his mouth, for he thinks slowly, and they give him time to reflect."


title: Arthur Schopenhauer

text: The State, Schopenhauer claimed, punishes criminals to prevent future crimes. It places "beside every possible motive for committing a wrong a more powerful motive for leaving it undone, in the inescapable punishment. Accordingly, the criminal code is as complete a register as possible of counter-motives to all criminal actions that can possibly be imagined ..." He claimed that this doctrine was not original to him but had appeared in the writings of Plato, Seneca, Hobbes, Pufendorf, and Anselm Feuerbach.


title: Arthur Schopenhauer

text: Schopenhauer attributed civilizational primacy to the northern "white races" due to their sensitivity and creativity (except for the ancient Egyptians and Hindus, whom he saw as equal):


title: Arthur Schopenhauer

text: The highest civilization and culture, apart from the ancient Hindus and Egyptians, are found exclusively among the white races; and even with many dark peoples, the ruling caste or race is fairer in colour than the rest and has, therefore, evidently immigrated, for example, the Brahmans, the Incas, and the rulers of the South Sea Islands. All this is due to the fact that necessity is the mother of invention because those tribes that emigrated early to the north, and there gradually became white, had to develop all their intellectual powers and invent and perfect all the arts in their struggle with need, want and misery, which in their many forms were brought about by the climate. This they had to do in order to make up for the parsimony of nature and out of it all came their high civilization.


title: Arthur Schopenhauer

text: Schopenhauer was fervently opposed to slavery. Speaking of the treatment of slaves in the slave-holding states of the United States, he condemned "those devils in human form, those bigoted, church-going, strict sabbath-observing scoundrels, especially the Anglican parsons among them" for how they "treat their innocent black brothers who through violence and injustice have fallen into their devil's claws". The slave-holding states of North America, Schopenhauer writes, are a "disgrace to the whole of humanity".


title: Arthur Schopenhauer

text: Schopenhauer also maintained a marked metaphysical and political anti-Judaism. He argued that Christianity constituted a revolt against what he styled the materialistic basis of Judaism, exhibiting an Indian-influenced ethics reflecting the Aryan-Vedic theme of spiritual self-conquest. He saw this as opposed to the ignorant drive toward earthly utopianism and superficiality of a worldly "Jewish" spirit:


title: Arthur Schopenhauer

text: [Judaism] is, therefore, the crudest and poorest of all religions and consists merely in an absurd and revolting theism. It amounts to this that the "κύριος" ['Lord'], who has created the world, desires to be worshipped and adored; and so above all he is jealous, is envious of his colleagues, of all the other gods; if sacrifices are made to them he is furious and his Jews have a bad time ... It is most deplorable that this religion has become the basis of the prevailing religion of Europe; for it is a religion without any metaphysical tendency. While all other religions endeavor to explain to the people by symbols the metaphysical significance of life, the religion of the Jews is entirely immanent and furnishes nothing but a mere war-cry in the struggle with other nations.


title: Arthur Schopenhauer

text: In his 1851 essay "On Women", Schopenhauer expressed opposition to what he called "Teutonico-Christian stupidity" of "reflexive, unexamined reverence for the female ("abgeschmackten Weiberveneration")". He wrote: "Women are directly fitted for acting as the nurses and teachers of our early childhood by the fact that they are themselves childish, frivolous and short-sighted." He opined that women are deficient in artistic faculties and sense of justice, and expressed his opposition to monogamy. He claimed that "woman is by nature meant to obey". The essay does give some compliments: "women are decidedly more sober in their judgment than [men] are", and are more sympathetic to the suffering of others.


title: Arthur Schopenhauer

text: Schopenhauer's writings influenced many, from Friedrich Nietzsche to nineteenth-century feminists. His biological analysis of the difference between the sexes, and their separate roles in the struggle for survival and reproduction, anticipates some of the claims that were later ventured by sociobiologists and evolutionary psychologists.


title: Arthur Schopenhauer

text: When the elderly Schopenhauer sat for a sculpture portrait by the Prussian sculptor Elisabet Ney in 1859, he was much impressed by the young woman's wit and independence, as well as by her skill as a visual artist. After his time with Ney, he told Richard Wagner's friend Malwida von Meysenbug: "I have not yet spoken my last word about women. I believe that if a woman succeeds in withdrawing from the mass, or rather raising herself above the mass, she grows ceaselessly and more than a man."


title: Arthur Schopenhauer

text: In the third, expanded edition of "The World as Will and Representation" (1859), Schopenhauer added an appendix to his chapter on the "Metaphysics of Sexual Love". He wrote that pederasty has the benefit of preventing ill-begotten children. Concerning this, he stated that "the vice we are considering appears to work directly against the aims and ends of nature, and that in a matter that is all important and of the greatest concern to her it must in fact serve these very aims, although only indirectly, as a means for preventing greater evils".


title: Arthur Schopenhauer

text: Schopenhauer ends the appendix with the statement that "by expounding these paradoxical ideas, I wanted to grant to the professors of philosophy a small favour. I have done so by giving them the opportunity of slandering me by saying that I defend and commend pederasty."


title: Arthur Schopenhauer

text: Schopenhauer viewed personality and intellect as inherited. He quotes Horace's saying, "From the brave and good are the brave descended" ("Odes", iv, 4, 29) and Shakespeare's line from "Cymbeline", "Cowards father cowards, and base things sire base" (IV, 2) to reinforce his hereditarian argument.


title: Arthur Schopenhauer

text: Mechanistically, Schopenhauer believed that a person inherits his intellect through his mother, and personal character through the father. This belief in heritability of traits informed Schopenhauer's view of love—placing it at the highest level of importance. For Schopenhauer the "final aim of all love intrigues, be they comic or tragic, is really of more importance than all other ends in human life. What it all turns upon is nothing less than the composition of the next generation. ... It is not the weal or woe of any one individual, but that of the human race to come, which is here at stake." This view of the importance for the species of whom we choose to love was reflected in his views on eugenics or good breeding. Here Schopenhauer wrote:


title: Arthur Schopenhauer

text: With our knowledge of the complete unalterability both of character and of mental faculties, we are led to the view that a real and thorough improvement of the human race might be reached not so much from outside as from within, not so much by theory and instruction as rather by the path of generation. Plato had something of the kind in mind when, in the fifth book of his "Republic", he explained his plan for increasing and improving his warrior caste. If we could castrate all scoundrels and stick all stupid geese in a convent, and give men of noble character a whole harem, and procure men, and indeed thorough men, for all girls of intellect and understanding, then a generation would soon arise which would produce a better age than that of Pericles.


title: Arthur Schopenhauer

text: In another context, Schopenhauer reiterated his eugenic thesis: "If you want Utopian plans, I would say: the only solution to the problem is the despotism of the wise and noble members of a genuine aristocracy, a genuine nobility, achieved by mating the most magnanimous men with the cleverest and most gifted women. This proposal constitutes my Utopia and my Platonic Republic." Analysts (e.g., Keith Ansell-Pearson) have suggested that Schopenhauer's anti-egalitarianist sentiment and his support for eugenics influenced the neo-aristocratic philosophy of Friedrich Nietzsche, who initially considered Schopenhauer his mentor.


title: Arthur Schopenhauer

text: As a consequence of his monistic philosophy, Schopenhauer was very concerned about animal welfare. For him, all individual animals, including humans, are essentially phenomenal manifestations of the one underlying Will. For him the word "will" designates force, power, impulse, energy, and desire; it is the closest word we have that can signify both the essence of all external things and our own direct, inner experience. Since every living thing possesses will, humans and animals are fundamentally the same and can recognize themselves in each other. For this reason, he claimed that a good person would have sympathy for animals, who are our fellow sufferers.


title: Arthur Schopenhauer

text: In 1841, he praised the establishment in London of the Society for the Prevention of Cruelty to Animals, and in Philadelphia of the Animals' Friends Society. Schopenhauer went so far as to protest using the pronoun "it" in reference to animals because that led to treatment of them as though they were inanimate things. To reinforce his points, Schopenhauer referred to anecdotal reports of the look in the eyes of a monkey who had been shot and also the grief of a baby elephant whose mother had been killed by a hunter.


title: Arthur Schopenhauer

text: Schopenhauer was very attached to his succession of pet poodles. He criticized Spinoza's belief that animals are a mere means for the satisfaction of humans.


title: Arthur Schopenhauer

text: Schopenhauer read the Latin translation of the ancient Hindu texts, the "Upanishads", translated by French writer Anquetil du Perron from the Persian translation of Prince Dara Shukoh entitled "Sirre-Akbar" ("The Great Secret"). He was so impressed by its philosophy that he called it "the production of the highest human wisdom", and believed it contained superhuman concepts. Schopenhauer considered India as "the land of the most ancient and most pristine wisdom, the place from which Europeans could trace their descent and the tradition by which they had been influenced in so many decisive ways", and regarded the "Upanishads" as "the most profitable and elevating reading which [...] is possible in the world. It has been the solace of my life, and will be the solace of my death."


title: Arthur Schopenhauer

text: Schopenhauer was first introduced to Anquetil du Perron's translation by Friedrich Majer in 1814. They met during the winter of 1813–1814 in Weimar at the home of Schopenhauer's mother, according to the biographer Safranski. Majer was a follower of Herder, and an early Indologist. Schopenhauer did not begin serious study of the Indic texts until the summer of 1814. Safranski maintains that, between 1815 and 1817, Schopenhauer had another important cross-pollination with Indian thought in Dresden. This was through his neighbor of two years, Karl Christian Friedrich Krause. Krause was then a minor and rather unorthodox philosopher who attempted to mix his own ideas with ancient Indian wisdom. Krause had also mastered Sanskrit, unlike Schopenhauer, and they developed a professional relationship. It was from Krause that Schopenhauer learned meditation and received the closest thing to expert advice concerning Indian thought.


title: Arthur Schopenhauer

text: The book "Oupnekhat" (Upanishad) always lay open on his table, and he invariably studied it before going to bed. He called the opening up of Sanskrit literature "the greatest gift of our century", and predicted that the philosophy and knowledge of the Upanishads would become the cherished faith of the West. Most noticeable, in the case of Schopenhauer's work, was the significance of the "Chandogya Upanishad", whose Mahāvākya, Tat Tvam Asi, is mentioned throughout "The World as Will and Representation".


title: Arthur Schopenhauer

text: Schopenhauer noted a correspondence between his doctrines and the Four Noble Truths of Buddhism. Similarities centered on the principles that life involves suffering, that suffering is caused by desire (taṇhā), and that the extinction of desire leads to liberation. Thus three of the four "truths of the Buddha" correspond to Schopenhauer's doctrine of the will. In Buddhism, while greed and lust are always unskillful, desire is ethically variable – it can be skillful, unskillful, or neutral.


title: Arthur Schopenhauer

text: For Schopenhauer, will had ontological primacy over the intellect; desire is prior to thought. Schopenhauer felt this was similar to notions of puruṣārtha or goals of life in Vedānta Hinduism.


title: Arthur Schopenhauer

text: Buddhist nirvāṇa is not equivalent to the condition that Schopenhauer described as denial of the will. Nirvāṇa is not the extinguishing of the "person" as some Western scholars have thought, but only the "extinguishing" (the literal meaning of nirvana) of the flames of greed, hatred, and delusion that assail a person's character. Schopenhauer made the following statement in his discussion of religions:


title: Arthur Schopenhauer

text: If I wished to take the results of my philosophy as the standard of truth, I should have to concede to Buddhism pre-eminence over the others. In any case, it must be a pleasure to me to see my doctrine in such close agreement with a religion that the majority of men on earth hold as their own, for this numbers far more followers than any other. And this agreement must be yet the more pleasing to me, inasmuch as "in my philosophizing I have certainly not been under its influence" [emphasis added]. For up till 1818, when my work appeared, there was to be found in Europe only a very few accounts of Buddhism.


title: Arthur Schopenhauer

text: Buddhist philosopher Keiji Nishitani sought to distance Buddhism from Schopenhauer. While Schopenhauer's philosophy may sound rather mystical in such a summary, his methodology was resolutely empirical, rather than speculative or transcendental:


title: Arthur Schopenhauer

text: Philosophy ... is a science, and as such has no articles of faith; accordingly, in it nothing can be assumed as existing except what is either positively given empirically, or demonstrated through indubitable conclusions.


title: Arthur Schopenhauer

text: This actual world of what is knowable, in which we are and which is in us, remains both the material and the limit of our consideration.


title: Arthur Schopenhauer

text: The argument that Buddhism affected Schopenhauer's philosophy more than any other Dharmic faith loses credence since he did not begin a serious study of Buddhism until after the publication of "The World as Will and Representation" in 1818. Scholars have started to revise earlier views about Schopenhauer's discovery of Buddhism. Proof of early interest and influence appears in Schopenhauer's 1815–16 notes (transcribed and translated by Urs App) about Buddhism. They are included in a recent case study that traces Schopenhauer's interest in Buddhism and documents its influence. Other scholarly work questions how similar Schopenhauer's philosophy actually is to Buddhism.


title: Arthur Schopenhauer

text: Some traditions in Western esotericism and parapsychology interested Schopenhauer and influenced his philosophical theories. He praised animal magnetism as evidence for the reality of magic in his "On the Will in Nature", and went so far as to accept the division of magic into left-hand and right-hand magic, although he doubted the existence of demons.


title: Arthur Schopenhauer

text: Schopenhauer grounded magic in the Will and claimed all forms of magical transformation depended on the human Will, not on ritual. This theory notably parallels Aleister Crowley's system of magic and its emphasis on human will. Given the importance of the Will to Schopenhauer's overarching system, this amounts to "suggesting his whole philosophical system had magical powers." Schopenhauer rejected the theory of disenchantment and claimed philosophy should synthesize itself with magic, which he believed amount to "practical metaphysics."


title: Arthur Schopenhauer

text: Neoplatonism, including the traditions of Plotinus and to a lesser extent Marsilio Ficino, has also been cited as an influence on Schopenhauer.


title: Arthur Schopenhauer

text: In his student years, Schopenhauer went more often to lectures in the sciences than philosophy. He kept a strong interest as his personal library contained near to 200 books of scientific literature at his death, and his works refer to scientific titles not found in the library.


title: Arthur Schopenhauer

text: Many evenings were spent in the theatre, opera and ballet; Schopenhauer especially liked the operas of Mozart, Rossini and Bellini. Schopenhauer considered music the highest art, and played the flute during his whole life.


title: Arthur Schopenhauer

text: As a polyglot, he knew German, Italian, Spanish, French, English, Latin and ancient Greek, and was an avid reader of poetry and literature. He particularly revered Goethe, Petrarch, Calderón and Shakespeare.


title: Arthur Schopenhauer

text: If Goethe had not been sent into the world simultaneously with Kant in order to counterbalance him, so to speak, in the spirit of the age, the latter would have been haunted like a nightmare many an aspiring mind and would have oppressed it with great affliction. But now the two have an infinitely wholesome effect from opposite directions and will probably raise the German spirit to a height surpassing even that of antiquity.


title: Arthur Schopenhauer

text: In philosophy, his most important influences were, according to himself, Kant, Plato and the Upanishads. Concerning the Upanishads and Vedas, he writes in "The World as Will and Representation":


title: Arthur Schopenhauer

text: If the reader has also received the benefit of the Vedas, the access to which by means of the Upanishads is in my eyes the greatest privilege which this still young century (1818) may claim before all previous centuries, if then the reader, I say, has received his initiation in primeval Indian wisdom, and received it with an open heart, he will be prepared in the very best way for hearing what I have to tell him. It will not sound to him strange, as to many others, much less disagreeable; for I might, if it did not sound conceited, contend that every one of the detached statements which constitute the Upanishads, may be deduced as a necessary result from the fundamental thoughts which I have to enunciate, though those deductions themselves are by no means to be found there.


title: Arthur Schopenhauer

text: Schopenhauer saw Bruno and Spinoza as philosophers not bound to their age or nation. "Both were fulfilled by the thought, that as manifold the appearances of the world may be, it is still "one" being, that appears in all of them. ... Consequently, there is no place for God as creator of the world in their philosophy, but God is the world itself."


title: Arthur Schopenhauer

text: Schopenhauer expressed regret that Spinoza stuck for the presentation of his philosophy with the concepts of scholasticism and Cartesian philosophy, and tried to use geometrical proofs that do not hold because of vague and overly broad definitions. Bruno on the other hand, who knew much about nature and ancient literature, presented his ideas with Italian vividness, and is amongst philosophers the only one who comes near Plato's poetic and dramatic power of exposition.


title: Arthur Schopenhauer

text: Schopenhauer noted that their philosophies do not provide any ethics, and it is therefore very remarkable that Spinoza called his main work "Ethics". In fact, it could be considered complete from the standpoint of life-affirmation, if one completely ignores morality and self-denial. It is yet even more remarkable that Schopenhauer mentions Spinoza as an example of the denial of the will, if one uses the French biography by Jean Maximilien Lucas as the key to "Tractatus de Intellectus Emendatione".


title: Arthur Schopenhauer

text: The importance of Kant for Schopenhauer, in philosophy as well as on a personal level, cannot be overstated. Kant's philosophy was the foundation of Schopenhauer's, and he had high praise for the Transcendental Aesthetic section of Kant's "Critique of Pure Reason". Schopenhauer maintained that Kant stands in the same relation to philosophers such as Berkeley and Plato, as Copernicus to Hicetas, Philolaus, and Aristarchus: Kant succeeded in demonstrating what previous philosophers merely asserted.


title: Arthur Schopenhauer

text: Schopenhauer writes about Kant's influence on his work in the preface to the second edition of "The World as Will and Representation":


title: Arthur Schopenhauer

text: In his study room, one bust was of Buddha, the other was of Kant. The bond which Schopenhauer felt with the philosopher of Königsberg is demonstrated in an unfinished poem he dedicated to Kant (included in volume 2 of the "Parerga"):


title: Arthur Schopenhauer

text: Schopenhauer dedicated one fifth of his main work, "The World as Will and Representation", to a detailed criticism of the Kantian philosophy.


title: Arthur Schopenhauer

text: Schopenhauer praised Kant for his distinction between appearance and the thing-in-itself, whereas the general consensus in German idealism was that this was the weakest spot of Kant's theory, since, according to Kant, causality can find application on objects of experience only, and consequently, things-in-themselves cannot be the cause of appearances. The inadmissibility of this reasoning was also acknowledged by Schopenhauer. He insisted that this was a true conclusion, drawn from false premises.


title: Arthur Schopenhauer

text: The leading figures of post-Kantian philosophy—Johann Gottlieb Fichte, F. W. J. Schelling and G. W. F. Hegel—were not respected by Schopenhauer. He argued that they were not philosophers at all, for they lacked "the first requirement of a philosopher, namely a seriousness and honesty of inquiry." Rather, they were merely sophists who, excelling in the art of beguiling the public, pursued their own selfish interests (such as professional advancement within the university system). Diatribes against the vacuity, dishonesty, pomposity, and self-interest of these contemporaries are to be found throughout Schopenhauer's published writings. The following passage is an example:


title: Arthur Schopenhauer

text: Schopenhauer deemed Schelling the most talented of the three and wrote that he would recommend his "elucidatory paraphrase of the highly important doctrine of Kant" concerning the intelligible character, if he had been honest enough to admit he was parroting Kant, instead of hiding this relation in a cunning manner.


title: Arthur Schopenhauer

text: Schopenhauer reserved his most unqualified damning condemnation for Hegel, whom he considered less worthy than Fichte or Schelling. Whereas Fichte was merely a windbag ("Windbeutel"), Hegel was a "commonplace, inane, loathsome, repulsive, and ignorant charlatan." The philosophers Karl Popper and Mario Bunge agreed with this distinction. Hegel, Schopenhauer wrote in the preface to his "Two Fundamental Problems of Ethics", not only "performed no service to philosophy, but he has had a detrimental influence on philosophy, and thereby on German literature in general, really a downright stupefying, or we could even say a pestilential influence, which it is therefore the duty of everyone capable of thinking for himself and judging for himself to counteract in the most express terms at every opportunity."


title: Arthur Schopenhauer

text: Schopenhauer remained the most influential German philosopher until the First World War. His philosophy was a starting point for a new generation of philosophers including Julius Bahnsen, Paul Deussen, Lazar von Hellenbach, Karl Robert Eduard von Hartmann, Ernst Otto Lindner, Philipp Mainländer, Friedrich Nietzsche, Olga Plümacher and Agnes Taubert. His legacy shaped the intellectual debate, and forced movements that were utterly opposed to him, neo-Kantianism and positivism, to address issues they would otherwise have completely ignored, and in doing so he changed them markedly. The French writer Maupassant commented that "to-day even those who execrate him seem to carry in their own souls particles of his thought". Other philosophers of the 19th century who cited his influence include Hans Vaihinger, Volkelt, Solovyov and Weininger.


title: Arthur Schopenhauer

text: Schopenhauer was well read by physicists, most notably Einstein, Schrödinger, Wolfgang Pauli, and Majorana. Einstein described Schopenhauer's thoughts as a "continual consolation" and called him a genius. In his Berlin study three figures hung on the wall: Faraday, Maxwell, Schopenhauer. Konrad Wachsmann recalled: "He often sat with one of the well-worn Schopenhauer volumes, and as he sat there, he seemed so pleased, as if he were engaged with a serene and cheerful work."


title: Arthur Schopenhauer

text: When Erwin Schrödinger discovered Schopenhauer ("the greatest savant of the West") he considered switching his study of physics to philosophy. He maintained the idealistic views during the rest of his life. Wolfgang Pauli accepted the main tenet of Schopenhauer's metaphysics, that the thing-in-itself is will.


title: Arthur Schopenhauer

text: But most of all Schopenhauer is famous for his influence on artists. Richard Wagner became one of the earliest and most famous adherents of the Schopenhauerian philosophy. The admiration was not mutual, and Schopenhauer proclaimed: "I remain faithful to Rossini and Mozart!" So he has been nicknamed "the artist's philosopher". See also Influence of Schopenhauer on "Tristan und Isolde".


title: Arthur Schopenhauer

text: Under the influence of Schopenhauer, Leo Tolstoy became convinced that the truth of all religions lies in self-renunciation. When he read Schopenhauer's philosophy, Tolstoy exclaimed "at present I am convinced that Schopenhauer is the greatest genius among men. ... It is the whole world in an incomparably beautiful and clear reflection." He said that what he has written in "War and Peace" is also said by Schopenhauer in "The World as Will and Representation".


title: Arthur Schopenhauer

text: Jorge Luis Borges remarked that the reason he had never attempted to write a systematic account of his world view, despite his penchant for philosophy and metaphysics in particular, was because Schopenhauer had already written it for him.


title: Arthur Schopenhauer

text: Other figures in literature who were strongly influenced by Schopenhauer were Thomas Mann, Thomas Hardy, Afanasy Fet, J.-K. Huysmans and George Santayana. In Herman Melville's final years, while he wrote "Billy Budd", he read Schopenhauer's essays and marked them heavily. Scholar Brian Yothers notes that Melville "marked numerous misanthropic and even suicidal remarks, suggesting an attraction to the most extreme sorts of solitude, but he also made note of Schopenhauer's reflection on the moral ambiguities of genius." Schopenhauer's attraction to and discussions of both Eastern and Western religions in conjunction with each other made an impression on Melville in his final years.


title: Arthur Schopenhauer

text: Sergei Prokofiev, although initially reluctant to engage with works noted for their pessimism, became fascinated with Schopenhauer after reading "Aphorisms on the Wisdom of Life" in "Parerga and Paralipomena". "With his truths Schopenhauer gave me a spiritual world and an awareness of happiness."


title: Arthur Schopenhauer

text: Friedrich Nietzsche owed the awakening of his philosophical interest to reading "The World as Will and Representation" and admitted that he was one of the few philosophers that he respected, dedicating to him his essay "Schopenhauer als Erzieher" one of his "Untimely Meditations".


title: Arthur Schopenhauer

text: Early in his career, Ludwig Wittgenstein adopted Schopenhauer's epistemological idealism, and some traits of Schopenhauer's influence (particularly Schopenhauerian transcendentalism) can be observed in the "Tractatus Logico-Philosophicus". Later on, Wittgenstein rejected epistemological transcendental idealism for Gottlob Frege's conceptual realism. In later years, Wittgenstein became highly dismissive of Schopenhauer, describing him as an ultimately shallow thinker. His friend Bertrand Russell had a low opinion on the philosopher, and even came to attack him in his "History of Western Philosophy" for hypocritically praising asceticism yet not acting upon it.


title: Arthur Schopenhauer

text: Opposite to Russell on the foundations of mathematics, the Dutch mathematician L. E. J. Brouwer incorporated Kant's and Schopenhauer's ideas in the philosophical school of intuitionism, where mathematics is considered as a purely mental activity instead of an analytic activity wherein objective properties of reality are revealed. Brouwer was also influenced by Schopenhauer's metaphysics, and wrote an essay on mysticism.


title: Arthur Schopenhauer

text: Schopenhauer's philosophy has made its way into a novel, "The Schopenhauer Cure", by American existential psychiatrist and emeritus professor of psychiatry Irvin Yalom.


title: Arthur Schopenhauer

text: Schopenhauer's philosophy, and the discussions on philosophical pessimism it has engendered, has been the focus of contemporary thinkers such as David Benatar, Thomas Ligotti, and Eugene Thacker. Their work also served as an inspiration for the popular HBO TV series "True Detective" as well as "Life Is Beautiful". In this regard, Schopenhauer is sometimes considered the founding father of today's antinatalism.


title: Aesthetics

text: Aesthetics, or esthetics, is a branch of philosophy that deals with the nature of beauty and taste, as well as the philosophy of art (its own area of philosophy that comes out of aesthetics). It examines aesthetic values, often expressed through judgments of taste.


title: Aesthetics

text: Aesthetics covers both natural and artificial sources of experiences and how we form a judgment about those sources. It considers what happens in our minds when we engage with objects or environments such as viewing visual art, listening to music, reading poetry, experiencing a play, watching a fashion show, movie, sports or even exploring various aspects of nature. The philosophy of art specifically studies how artists imagine, create, and perform works of art, as well as how people use, enjoy, and criticize art. Aesthetics considers why people like some works of art and not others, as well as how art can affect moods or even our beliefs. Both aesthetics and the philosophy of art try to find answers for what exactly is art, artwork, or what makes a good art.


title: Aesthetics

text: Scholars in the field have defined aesthetics as "critical reflection on art, culture and nature". In modern English, the term "aesthetic" can also refer to a set of principles underlying the works of a particular art movement or theory (one speaks, for example, of a Renaissance aesthetic).


title: Aesthetics

text: The word "aesthetic" is derived from the Ancient Greek (', "perceptive, sensitive, pertaining to sensory perception"), which in turn comes from (', "I perceive, sense, learn") and is related to ("", "perception, sensation"). Aesthetics in this central sense has been said to start with the series of articles on "The Pleasures of the Imagination", which the journalist Joseph Addison wrote in the early issues of the magazine The Spectator in 1712.


title: Aesthetics

text: The term "aesthetics" was appropriated and coined with new meaning by the German philosopher Alexander Baumgarten in his dissertation "Meditationes philosophicae de nonnullis ad poema pertinentibus" () in 1735; Baumgarten chose "aesthetics" because he wished to emphasize the experience of art as a means of knowing. Baumgarten's definition of aesthetics in the fragment "Aesthetica" (1750) is occasionally considered the first definition of modern aesthetics.


title: Aesthetics

text: Some separate aesthetics and the philosophy of art, claiming that the former is the study of beauty and taste while the latter is the study of works of art. But aesthetics typically considers questions of beauty as well as of art. It examines topics such as art works, aesthetic experience, and aesthetic judgments. Some consider aesthetics to be a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object (not necessarily a work of art), while artistic judgement refers to the recognition, appreciation or criticism of art or an art work.


title: Aesthetics

text: Philosophical aesthetics must not only speak about and judge art and art works but also define art. A common point of disagreement concerns whether art is independent of any moral or political purpose.


title: Aesthetics

text: Aestheticians weigh a culturally contingent conception of art versus one that is purely theoretical. They study the varieties of art in relation to their physical, social, and cultural environments. Aestheticians also use psychology to understand how people see, hear, imagine, think, learn, and act in relation to the materials and problems of art. Aesthetic psychology studies the creative process and the aesthetic experience.


title: Aesthetics

text: Aesthetics examines affective domain response to an object or phenomenon. Judgments of aesthetic value rely on the ability to discriminate at a sensory level. However, aesthetic judgments usually go beyond sensory discrimination.


title: Aesthetics

text: For David Hume, delicacy of taste is not merely "the ability to detect all the ingredients in a composition", but also the sensitivity "to pains as well as pleasures, which escape the rest of mankind." Thus, sensory discrimination is linked to capacity for pleasure.


title: Aesthetics

text: For Immanuel Kant ("Critique of Judgment", 1790), "enjoyment" is the result when pleasure arises from sensation, but judging something to be "beautiful" has a third requirement: sensation must give rise to pleasure by engaging reflective contemplation. Judgments of beauty are sensory, emotional and intellectual all at once. Kant (1790) observed of a man "If he says that canary wine is agreeable he is quite content if someone else corrects his terms and reminds him to say instead: It is agreeable to "me"," because "Everyone has his own (sense of) taste". The case of "beauty" is different from mere "agreeableness" because, "If he proclaims something to be beautiful, then he requires the same liking from others; he then judges not just for himself but for everyone, and speaks of beauty as if it were a property of things."


title: Aesthetics

text: Viewer interpretations of beauty may on occasion be observed to possess two concepts of value: aesthetics and taste. Aesthetics is the philosophical notion of beauty. Taste is a result of an education process and awareness of elite cultural values learned through exposure to mass culture. Bourdieu examined how the elite in society define the aesthetic values like taste and how varying levels of exposure to these values can result in variations by class, cultural background, and education. According to Kant, beauty is subjective and universal; thus certain things are beautiful to everyone. In the opinion of Władysław Tatarkiewicz, there are six conditions for the presentation of art: beauty, form, representation, reproduction of reality, artistic expression and innovation. However, one may not be able to pin down these qualities in a work of art.


title: Aesthetics

text: The question of whether there are facts about aesthetic judgments belongs to the branch of metaphilosophy known as meta-aesthetics.


title: Aesthetics

text: Aesthetic judgement is closely tied to disgust. Responses like disgust show that sensory detection is linked in instinctual ways to facial expressions including physiological responses like the gag reflex. Disgust is triggered largely by dissonance; as Darwin pointed out, seeing a stripe of soup in a man's beard is disgusting even though neither soup nor beards are themselves disgusting. Aesthetic judgments may be linked to emotions or, like emotions, partially embodied in physical reactions. For example, the awe inspired by a sublime landscape might physically manifest with an increased heart-rate or pupil dilation.


title: Aesthetics

text: As seen, emotions are conformed to 'cultural' reactions, therefore aesthetics is always characterized by 'regional responses', as Francis Grose was the first to affirm in his 'Rules for Drawing Caricaturas: With an Essay on Comic Painting' (1788), published in W. Hogarth, The Analysis of Beauty, Bagster, London s.d. (1791? [1753]), pp. 1–24. Francis Grose can therefore be claimed to be the first critical 'aesthetic regionalist' in proclaiming the anti-universality of aesthetics in contrast to the perilous and always resurgent dictatorship of beauty. 'Aesthetic Regionalism' can thus be seen as a political statement and stance which vies against any universal notion of beauty to safeguard the counter-tradition of aesthetics related to what has been considered and dubbed un-beautiful just because one's culture does not contemplate it, e.g. E. Burke's sublime, what is usually defined as 'primitive' art, or un-harmonious, non-cathartic art, camp art, which 'beauty' posits and creates, dichotomously, as its opposite, without even the need of formal statements, but which will be 'perceived' as ugly.


title: Aesthetics

text: Likewise, aesthetic judgments may be culturally conditioned to some extent. Victorians in Britain often saw African sculpture as ugly, but just a few decades later, Edwardian audiences saw the same sculptures as beautiful. Evaluations of beauty may well be linked to desirability, perhaps even to sexual desirability. Thus, judgments of aesthetic value can become linked to judgments of economic, political, or moral value. In a current context, a Lamborghini might be judged to be beautiful partly because it is desirable as a status symbol, or it may be judged to be repulsive partly because it signifies over-consumption and offends political or moral values.


title: Aesthetics

text: The context of its presentation also affects the perception of artwork; artworks presented in a classical museum context are liked more and rated more interesting than when presented in a sterile laboratory context. While specific results depend heavily on the style of the presented artwork, overall, the effect of context proved to be more important for the perception of artwork than the effect of genuineness (whether the artwork was being presented as original or as a facsimile/copy).


title: Aesthetics

text: Aesthetic judgments can often be very fine-grained and internally contradictory. Likewise aesthetic judgments seem often to be at least partly intellectual and interpretative. What a thing means or symbolizes is often what is being judged. Modern aestheticians have asserted that will and desire were almost dormant in aesthetic experience, yet preference and choice have seemed important aesthetics to some 20th-century thinkers. The point is already made by Hume, but see Mary Mothersill, "Beauty and the Critic's Judgment", in "The Blackwell Guide to Aesthetics", 2004. Thus aesthetic judgments might be seen to be based on the senses, emotions, intellectual opinions, will, desires, culture, preferences, values, subconscious behaviour, conscious decision, training, instinct, sociological institutions, or some complex combination of these, depending on exactly which theory is employed.


title: Aesthetics

text: A third major topic in the study of aesthetic judgments is how they are unified across art forms. For instance, the source of a painting's beauty has a different character to that of beautiful music, suggesting their aesthetics differ in kind. The distinct inability of language to express aesthetic judgment and the role of Social construction further cloud this issue.


title: Aesthetics

text: Artists such as Thomas Hirschhorn have indicated that there are too many exceptions to Dutton's categories. For example, Hirschhorn's installations deliberately eschew technical virtuosity. People can appreciate a Renaissance Madonna for aesthetic reasons, but such objects often had (and sometimes still have) specific devotional functions. "Rules of composition" that might be read into Duchamp's "Fountain" or John Cage's "4′33″" do not locate the works in a recognizable style (or certainly not a style recognizable at the time of the works' realization). Moreover, some of Dutton's categories seem too broad: a physicist might entertain hypothetical worlds in his/her imagination in the course of formulating a theory. Another problem is that Dutton's categories seek to universalize traditional European notions of aesthetics and art forgetting that, as André Malraux and others have pointed out, there have been large numbers of cultures in which such ideas (including the idea "art" itself) were non-existent.


title: Aesthetics

text: Aesthetic ethics refers to the idea that human conduct and behaviour ought to be governed by that which is beautiful and attractive. John Dewey has pointed out that the unity of aesthetics and ethics is in fact reflected in our understanding of behaviour being "fair"—the word having a double meaning of attractive and morally acceptable. More recently, James Page has suggested that aesthetic ethics might be taken to form a philosophical rationale for peace education.


title: Aesthetics

text: Beauty is one of the main subjects of aesthetics, together with art and taste. Many of its definitions include the idea that an object is beautiful if perceiving it is accompanied by aesthetic pleasure. Among the examples of beautiful objects are landscapes, sunsets, humans and works of art. Beauty is a positive aesthetic value that contrasts with ugliness as its negative counterpart.


title: Aesthetics

text: Different intuitions commonly associated with beauty and its nature are in conflict with each other, which poses certain difficulties for understanding it. On the one hand, beauty is ascribed to things as an objective, public feature. On the other hand, it seems to depend on the subjective, emotional response of the observer. It is said, for example, that "beauty is in the eye of the beholder". It may be possible to reconcile these intuitions by affirming that it depends both on the objective features of the beautiful thing and the subjective response of the observer. One way to achieve this is to hold that an object is beautiful if it has the power to bring about certain aesthetic experiences in the perceiving subject. This is often combined with the view that the subject needs to have the ability to correctly perceive and judge beauty, sometimes referred to as "sense of taste". Various conceptions of how to define and understand beauty have been suggested. "Classical conceptions" emphasize the objective side of beauty by defining it in terms of the relation between the beautiful object as a whole and its parts: the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. "Hedonist conceptions", on the other hand, focus more on the subjective side by drawing a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful is for it to cause disinterested pleasure. Other conceptions include defining beautiful objects in terms of their value, of a loving attitude towards them or of their function.


title: Aesthetics

text: During the first half of the twentieth century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning "the intentional fallacy". At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.


title: Aesthetics

text: In 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled "The Intentional Fallacy", in which they argued strongly against the relevance of an author's intention, or "intended meaning" in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside the text was considered irrelevant, and potentially distracting.


title: Aesthetics

text: In another essay, "The Affective Fallacy," which served as a kind of sister essay to "The Intentional Fallacy" Wimsatt and Beardsley also discounted the reader's personal/emotional reaction to a literary work as a valid means of analyzing a text. This fallacy would later be repudiated by theorists from the reader-response school of literary theory. One of the leading theorists from this school, Stanley Fish, was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his essay "Literature in the Reader" (1970).


title: Aesthetics

text: As summarized by Berys Gaut and Livingston in their essay "The Creation of Art": "Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and the so-called autonomy of art, but they reiterated the attack on biographical criticisms' assumption that the artist's activities and experience were a privileged critical topic." These authors contend that: "Anti-intentionalists, such as formalists, hold that the intentions involved in the making of art are irrelevant or peripheral to correctly interpreting art. So details of the act of creating a work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work."


title: Aesthetics

text: Gaut and Livingston define the intentionalists as distinct from formalists stating that: "Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works." They quote Richard Wollheim as stating that, "The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself."


title: Aesthetics

text: A large number of derivative forms of aesthetics have developed as contemporary and transitory forms of inquiry associated with the field of aesthetics which include the post-modern, psychoanalytic, scientific, and mathematical among others.


title: Aesthetics

text: Early-twentieth-century artists, poets and composers challenged existing notions of beauty, broadening the scope of art and aesthetics. In 1941, Eli Siegel, American philosopher and poet, founded Aesthetic Realism, the philosophy that reality itself is aesthetic, and that "The world, art, and self explain each other: each is the aesthetic oneness of opposites."


title: Aesthetics

text: Various attempts have been made to define Post-Modern Aesthetics. The challenge to the assumption that beauty was central to art and aesthetics, thought to be original, is actually continuous with older aesthetic theory; Aristotle was the first in the Western tradition to classify "beauty" into types as in his theory of drama, and Kant made a distinction between beauty and the sublime. What was new was a refusal to credit the higher status of certain types, where the taxonomy implied a preference for tragedy and the sublime to comedy and the Rococo.


title: Aesthetics

text: Croce suggested that "expression" is central in the way that beauty was once thought to be central. George Dickie suggested that the sociological institutions of the art world were the glue binding art and sensibility into unities. Marshall McLuhan suggested that art always functions as a "counter-environment" designed to make visible what is usually invisible about a society. Theodor Adorno felt that aesthetics could not proceed without confronting the role of the culture industry in the commodification of art and aesthetic experience. Hal Foster attempted to portray the reaction against beauty and Modernist art in "The Anti-Aesthetic: Essays on Postmodern Culture". Arthur Danto has described this reaction as "kalliphobia" (after the Greek word for beauty, κάλλος "kallos"). André Malraux explains that the notion of beauty was connected to a particular conception of art that arose with the Renaissance and was still dominant in the eighteenth century (but was supplanted later). The discipline of aesthetics, which originated in the eighteenth century, mistook this transient state of affairs for a revelation of the permanent nature of art. Brian Massumi suggests to reconsider beauty following the aesthetical thought in the philosophy of Deleuze and Guattari. Walter Benjamin echoed Malraux in believing aesthetics was a comparatively recent invention, a view proven wrong in the late 1970s, when Abraham Moles and Frieder Nake analyzed links between beauty, information processing, and information theory. Denis Dutton in "The Art Instinct" also proposed that an aesthetic sense was a vital evolutionary factor.


title: Aesthetics

text: Jean-François Lyotard re-invokes the Kantian distinction between taste and the sublime. Sublime painting, unlike kitsch realism, "... will enable us to see only by making it impossible to see; it will please only by causing pain."


title: Aesthetics

text: Sigmund Freud inaugurated aesthetical thinking in Psychoanalysis mainly via the "Uncanny" as aesthetical affect. Following Freud and Merleau-Ponty, Jacques Lacan theorized aesthetics in terms of sublimation and the Thing.


title: Aesthetics

text: The field of experimental aesthetics was founded by Gustav Theodor Fechner in the 19th century. Experimental aesthetics in these times had been characterized by a subject-based, inductive approach. The analysis of individual experience and behaviour based on experimental methods is a central part of experimental aesthetics. In particular, the perception of works of art, music, or modern items such as websites or other IT products is studied. Experimental aesthetics is strongly oriented towards the natural sciences. Modern approaches mostly come from the fields of cognitive psychology (aesthetic cognitivism) or neuroscience (neuroaesthetics).


title: Aesthetics

text: In the 1970s, Abraham Moles and Frieder Nake were among the first to analyze links between aesthetics, information processing, and information theory.


title: Aesthetics

text: In the 1990s, Jürgen Schmidhuber described an algorithmic theory of beauty which takes the subjectivity of the observer into account and postulates that among several observations classified as comparable by a given subjective observer, the most aesthetically pleasing is the one that is encoded by the shortest description. He uses the differences between these lengths to account for subjective differences between the aesthetic tastes of different observers, as one's ability to efficiently describe an observation is based on their particular mental method of encoding data and the proximity of the observation to the subject's prior knowledge. The theory is inspired by principles of algorithmic information theory, especially minimum description length, which prefers mathematical models that use the least information to describe data. As an example, Schmidhuber notes that mathematicians tend to aesthetically prefer simple proofs with a short description in their formal language. Another concrete example describes an aesthetically pleasing human face whose proportions can be described by very few bits of information, drawing inspiration from less detailed 15th century proportion studies by Leonardo da Vinci and Albrecht Dürer. Schmidhuber's theory explicitly distinguishes between that which is beautiful and that which is interesting, stating that interestingness corresponds to the first derivative of subjectively perceived beauty. He supposes that every observer continually tries to improve the predictability and compressibility of their observations by identifying regularities like repetition, symmetry, and fractal self-similarity. Whenever the observer's learning process (which may be a predictive artificial neural network) leads to improved data compression such that the observation sequence can be described by fewer bits than before, the temporary interestingness of the data corresponds to the number of saved bits. This compression progress is proportional to the observer's internal reward, also called curiosity reward. A reinforcement learning algorithm is used to maximize future expected reward by learning to execute action sequences that cause additional interesting input data with yet unknown but learnable predictability or regularity. The principles can be implemented on artificial agents which then exhibit a form of artificial curiosity.


title: Aesthetics

text: Mathematical considerations, such as symmetry and complexity, are used for analysis in theoretical aesthetics. This is different from the aesthetic considerations of applied aesthetics used in the study of mathematical beauty. Aesthetic considerations such as symmetry and simplicity are used in areas of philosophy, such as ethics and theoretical physics and cosmology to define truth, outside of empirical considerations. Beauty and Truth have been argued to be nearly synonymous, as reflected in the statement "Beauty is truth, truth beauty" in the poem "Ode on a Grecian Urn" by John Keats, or by the Hindu motto "Satyam Shivam Sundaram" (Satya (Truth) is Shiva (God), and Shiva is Sundaram (Beautiful)). The fact that judgments of beauty and judgments of truth both are influenced by processing fluency, which is the ease with which information can be processed, has been presented as an explanation for why beauty is sometimes equated with truth. Recent research found that people use beauty as an indication for truth in mathematical pattern tasks. However, scientists including the mathematician David Orrell and physicist Marcelo Gleiser have argued that the emphasis on aesthetic criteria such as symmetry is equally capable of leading scientists astray.


title: Aesthetics

text: Computational approaches to aesthetics emerged amid efforts to use computer science methods "to predict, convey, and evoke emotional response to a piece of art. It this field, aesthetics is not considered to be dependent on taste but is a matter of cognition, and, consequently, learning. In 1928, the mathematician George David Birkhoff created an aesthetic measure "M = O/C" as the ratio of order to complexity.


title: Aesthetics

text: Since about 2005, computer scientists have attempted to develop automated methods to infer aesthetic quality of images. Typically, these approaches follow a machine learning approach, where large numbers of manually rated photographs are used to "teach" a computer about what visual properties are of relevance to aesthetic quality. A study by Y. Li and C.J. Hu employed Birkhoff's measurement in their statistical learning approach where order and complexity of an image determined aesthetic value. The image complexity was computed using information theory while the order was determined using fractal compression. There is also the case of the Acquine engine, developed at Penn State University, that rates natural photographs uploaded by users.


title: Aesthetics

text: There have also been relatively successful attempts with regard to chess and music. Computational approaches have also been attempted in film making as demonstrated by a software model developed by Chitra Dorai and a group of researchers at the IBM T.J. Watson Research Center. The tool predicted aesthetics based on the values of narrative elements. A relation between Max Bense's mathematical formulation of aesthetics in terms of "redundancy" and "complexity" and theories of musical anticipation was offered using the notion of Information Rate.


title: Aesthetics

text: Evolutionary aesthetics refers to evolutionary psychology theories in which the basic aesthetic preferences of "Homo sapiens" are argued to have evolved in order to enhance survival and reproductive success. One example being that humans are argued to find beautiful and prefer landscapes which were good habitats in the ancestral environment. Another example is that body symmetry and proportion are important aspects of physical attractiveness which may be due to this indicating good health during body growth. Evolutionary explanations for aesthetical preferences are important parts of evolutionary musicology, Darwinian literary studies, and the study of the evolution of emotion.


title: Aesthetics

text: As well as being applied to art, aesthetics can also be applied to cultural objects, such as crosses or tools. For example, aesthetic coupling between art-objects and medical topics was made by speakers working for the US Information Agency. Art slides were linked to slides of pharmacological data, which improved attention and retention by simultaneous activation of intuitive right brain with rational left. It can also be used in topics as diverse as cartography, mathematics, gastronomy, fashion and website design.


title: Aesthetics

text: Guy Sircello has pioneered efforts in analytic philosophy to develop a rigorous theory of aesthetics, focusing on the concepts of beauty, love and sublimity. In contrast to romantic theorists, Sircello argued for the objectivity of beauty and formulated a theory of love on that basis.


title: Aesthetics

text: British philosopher and theorist of conceptual art aesthetics, Peter Osborne, makes the point that "'post-conceptual art' aesthetic does not concern a particular type of contemporary art so much as the historical-ontological condition for the production of contemporary art in general ...". Osborne noted that contemporary art is 'post-conceptual' in a public lecture delivered in 2010.


title: Aesthetics

text: Gary Tedman has put forward a theory of a subjectless aesthetics derived from Karl Marx's concept of alienation, and Louis Althusser's antihumanism, using elements of Freud's group psychology, defining a concept of the 'aesthetic level of practice'.


title: Aesthetics

text: Gregory Loewen has suggested that the subject is key in the interaction with the aesthetic object. The work of art serves as a vehicle for the projection of the individual's identity into the world of objects, as well as being the irruptive source of much of what is uncanny in modern life. As well, art is used to memorialize individuated biographies in a manner that allows persons to imagine that they are part of something greater than themselves.


title: Aesthetics

text: The philosophy of aesthetics as a practice has been criticized by some sociologists and writers of art and society. Raymond Williams, for example, argues that there is no unique and or individual aesthetic object which can be extrapolated from the art world, but rather that there is a continuum of cultural forms and experience of which ordinary speech and experiences may signal as art. By "art" we may frame several artistic "works" or "creations" as so though this reference remains within the institution or special event which creates it and this leaves some works or other possible "art" outside of the frame work, or other interpretations such as other phenomenon which may not be considered as "art".


title: Aesthetics

text: Pierre Bourdieu disagrees with Kant's idea of the "aesthetic". He argues that Kant's "aesthetic" merely represents an experience that is the product of an elevated class habitus and scholarly leisure as opposed to other possible and equally valid "aesthetic" experiences which lay outside Kant's narrow definition.


title: Aesthetics

text: Timothy Laurie argues that theories of musical aesthetics "framed entirely in terms of appreciation, contemplation or reflection risk idealizing an implausibly unmotivated listener defined solely through musical objects, rather than seeing them as a person for whom complex intentions and motivations produce variable attractions to cultural objects and practices".


title: James K. Polk

text: James Knox Polk (November 2, 1795 – June 15, 1849) was the 11th president of the United States, serving from 1845 to 1849. He previously was the 13th speaker of the House of Representatives (1835–1839) and ninth governor of Tennessee (1839–1841). A protégé of Andrew Jackson, he was a member of the Democratic Party and an advocate of Jacksonian democracy. Polk is chiefly known for extending the territory of the United States through the Mexican–American War; during his presidency, the United States expanded significantly with the annexation of the Republic of Texas, the Oregon Territory, and the Mexican Cession following American victory in the Mexican–American War.


title: James K. Polk

text: After building a successful law practice in Tennessee, Polk was elected to its state legislature in 1823 and then to the United States House of Representatives in 1825, becoming a strong supporter of Andrew Jackson. After serving as chairman of the Ways and Means Committee, he became Speaker of the House in 1835, the only person to have served both as Speaker and U.S. president. Polk left Congress to run for governor of Tennessee, winning in 1839 but losing in 1841 and 1843. He was a dark horse candidate in the 1844 presidential election as the Democratic Party nominee; he entered his party's convention as a potential nominee for vice president but emerged as a compromise to head the ticket when no presidential candidate could secure the necessary two-thirds majority. In the general election, Polk defeated Henry Clay of the rival Whig Party.


title: James K. Polk

text: After a negotiation fraught with the risk of war, he reached a settlement with Great Britain over the disputed Oregon Country, the territory, for the most part, being divided along the 49th parallel. Polk achieved victory in the Mexican–American War, which resulted in Mexico's cession of the entire American Southwest. He secured a substantial reduction of tariff rates with the Walker tariff of 1846. The same year, he achieved his other major goal, re-establishment of the Independent Treasury system. True to his campaign pledge to serve only one term, Polk left office in 1849 and returned to Tennessee, where he died three months after leaving the White House.


title: James K. Polk

text: Though he is relatively obscure today, scholars have ranked Polk favorably for his ability to promote and achieve the major items on his presidential agenda in his single term. He has also been criticized for leading the country into a war with Mexico that exacerbated sectional divides. A property owner who used slave labor, he kept a plantation in Mississippi and increased his slave ownership during his presidency. Polk's policy of territorial expansion saw the nation reach the Pacific coast and reach almost all its contiguous borders. He made the United States a nation poised to become a world power, but with divisions between free and slave states gravely exacerbated, setting the stage for the Civil War.


title: James K. Polk

text: James Knox Polk was born on November 2, 1795, in a log cabin in Pineville, North Carolina. He was the first of 10 children born into a family of farmers. His mother Jane named him after her father, James Knox. His father Samuel Polk was a farmer, slaveholder, and surveyor of Scots-Irish descent. The Polks had immigrated to America in the late 17th century, settling initially on the Eastern Shore of Maryland but later moving to south-central Pennsylvania and then to the Carolina hill country.


title: James K. Polk

text: The Knox and Polk families were Presbyterian. While Polk's mother remained a devout Presbyterian, his father, whose own father Ezekiel Polk was a deist, rejected dogmatic Presbyterianism. He refused to declare his belief in Christianity at his son's baptism, and the minister refused to baptize young James. Nevertheless, James' mother "stamped her rigid orthodoxy on James, instilling lifelong Calvinistic traits of self-discipline, hard work, piety, individualism, and a belief in the imperfection of human nature", according to James A. Rawley's "American National Biography" article.


title: James K. Polk

text: In 1803, Ezekiel Polk led four of his adult children and their families to the Duck River area in what is now Maury County, Tennessee; Samuel Polk and his family followed in 1806. The Polk clan dominated politics in Maury County and in the new town of Columbia. Samuel became a county judge, and the guests at his home included Andrew Jackson, who had already served as a judge and in Congress. James learned from the political talk around the dinner table; both Samuel and Ezekiel were strong supporters of President Thomas Jefferson and opponents of the Federalist Party.


title: James K. Polk

text: Polk suffered from frail health as a child, a particular disadvantage in a frontier society. His father took him to see prominent Philadelphia physician Dr. Philip Syng Physick for urinary stones. The journey was broken off by James's severe pain, and Dr. Ephraim McDowell of Danville, Kentucky, operated to remove them. No anesthetic was available except brandy. The operation was successful, but it might have left James impotent or sterile, as he had no children. He recovered quickly and became more robust. His father offered to bring him into one of his businesses, but he wanted an education and enrolled at a Presbyterian academy in 1813. He became a member of the Zion Church near his home in 1813 and enrolled in the Zion Church Academy. He then entered Bradley Academy in Murfreesboro, Tennessee, where he proved a promising student.


title: James K. Polk

text: In January 1816, Polk was admitted into the University of North Carolina at Chapel Hill as a second-semester sophomore. The Polk family had connections with the university, then a small school of about 80 students; Samuel was its land agent in Tennessee and his cousin William Polk was a trustee. Polk's roommate was William Dunn Moseley, who became the first Governor of Florida. Polk joined the Dialectic Society where he took part in debates, became its president, and learned the art of oratory. In one address, he warned that some American leaders were flirting with monarchical ideals, singling out Alexander Hamilton, a foe of Jefferson. Polk graduated with honors in May 1818.


title: James K. Polk

text: After graduation, Polk returned to Nashville, Tennessee to study law under renowned trial attorney Felix Grundy, who became his first mentor. On September 20, 1819, he was elected clerk of the Tennessee State Senate, which then sat in Murfreesboro and to which Grundy had been elected. He was re-elected clerk in 1821 without opposition, and continued to serve until 1822. In June 1820, he was admitted to the Tennessee bar, and his first case was to defend his father against a public fighting charge; he secured his release for a one-dollar fine. He opened an office in Maury County and was successful as a lawyer, due largely to the many cases arising from the Panic of 1819, a severe depression. His law practice subsidized his political career.


title: James K. Polk

text: By the time the legislature adjourned its session in September 1822, Polk was determined to be a candidate for the Tennessee House of Representatives. The election was in August 1823, almost a year away, allowing him ample time for campaigning. Already involved locally as a member of the Masons, he was commissioned in the Tennessee militia as a captain in the cavalry regiment of the 5th Brigade. He was later appointed a colonel on the staff of Governor William Carroll, and was afterwards often referred to as "Colonel". Although many of the voters were members of the Polk clan, the young politician campaigned energetically. People liked Polk's oratory, which earned him the nickname "Napoleon of the Stump." At the polls, where Polk provided alcoholic refreshments for his voters, he defeated incumbent William Yancey.


title: James K. Polk

text: Beginning in early 1822, Polk courted Sarah Childress—they were engaged the following year and married on January 1, 1824, in Murfreesboro. Educated far better than most women of her time, especially in frontier Tennessee, Sarah Polk was from one of the state's most prominent families. During James's political career Sarah assisted her husband with his speeches, gave him advice on policy matters, and played an active role in his campaigns. Rawley noted that Sarah Polk's grace, intelligence and charming conversation helped compensate for her husband's often austere manner.


title: James K. Polk

text: Polk's first mentor was Grundy, but in the legislature, Polk came increasingly to oppose him on such matters as land reform, and came to support the policies of Andrew Jackson, by then a military hero for his victory at the Battle of New Orleans (1815). Jackson was a family friend to both the Polks and the Childresses—there is evidence Sarah Polk and her siblings called him "Uncle Andrew"—and James Polk quickly came to support his presidential ambitions for 1824. When the Tennessee Legislature deadlocked on whom to elect as U.S. senator in 1823 (until 1913, legislators, not the people, elected senators), Jackson's name was placed in nomination. Polk broke from his usual allies, casting his vote for Jackson, who won. The Senate seat boosted Jackson's presidential chances by giving him current political experience to match his military accomplishments. This began an alliance that would continue until Jackson's death early in Polk's presidency. Polk, through much of his political career, was known as "Young Hickory", based on the nickname for Jackson, "Old Hickory". Polk's political career was as dependent on Jackson as his nickname implied.


title: James K. Polk

text: In the 1824 United States presidential election, Jackson got the most electoral votes (he also led in the popular vote) but as he did not receive a majority in the Electoral College, the election was thrown into the U.S. House of Representatives, which chose Secretary of State John Quincy Adams, who had received the second-most of each. Polk, like other Jackson supporters, believed that Speaker of the House Henry Clay had traded his support as fourth-place finisher (the House may only choose from among the top three) to Adams in a Corrupt Bargain in exchange for being the new Secretary of State. Polk had in August 1824 declared his candidacy for the following year's election to the House of Representatives from Tennessee's 6th congressional district. The district stretched from Maury County south to the Alabama line, and extensive electioneering was expected of the five candidates. Polk campaigned so vigorously that Sarah began to worry about his health. During the campaign, Polk's opponents said that at the age of 29 Polk was too young for the responsibility of a seat in the House, but he won the election with 3,669 votes out of 10,440 and took his seat in Congress later that year.


title: James K. Polk

text: When Polk arrived in Washington, D.C. for Congress's regular session in December 1825, he roomed in Benjamin Burch's boarding house with other Tennessee representatives, including Sam Houston. Polk made his first major speech on March 13, 1826, in which he said that the Electoral College should be abolished and that the president should be elected by popular vote. Remaining bitter at the alleged Corrupt Bargain between Adams and Clay, Polk became a vocal critic of the Adams administration, frequently voting against its policies. Sarah Polk remained at home in Columbia during her husband's first year in Congress, but accompanied him to Washington beginning in December 1826; she assisted him with his correspondence and came to hear James's speeches.


title: James K. Polk

text: Polk won re-election in 1827 and continued to oppose the Adams administration. He remained in close touch with Jackson, and when Jackson ran for president in 1828, Polk was an advisor on his campaign. Following Jackson's victory over Adams, Polk became one of the new President's most prominent and loyal supporters. Working on Jackson's behalf, Polk successfully opposed federally-funded "internal improvements" such as a proposed Buffalo-to-New Orleans road, and he was pleased by Jackson's Maysville Road veto in May 1830, when Jackson blocked a bill to finance a road extension entirely within one state, Kentucky, deeming it unconstitutional. Jackson opponents alleged that the veto message, which strongly complained about Congress' penchant for passing pork barrel projects, was written by Polk, but he denied this, stating that the message was entirely the President's.


title: James K. Polk

text: Polk served as Jackson's most prominent House ally in the "Bank War" that developed over Jackson's opposition to the re-authorization of the Second Bank of the United States. The Second Bank, headed by Nicholas Biddle of Philadelphia, not only held federal dollars but controlled much of the credit in the United States, as it could present currency issued by local banks for redemption in gold or silver. Some Westerners, including Jackson, opposed the Second Bank, deeming it a monopoly acting in the interest of Easterners. Polk, as a member of the House Ways and Means Committee, conducted investigations of the Second Bank, and though the committee voted for a bill to renew the bank's charter (scheduled to expire in 1836), Polk issued a strong minority report condemning the bank. The bill passed Congress in 1832, but Jackson vetoed it and Congress failed to override the veto. Jackson's action was highly controversial in Washington but had considerable public support, and he won easy re-election in 1832.


title: James K. Polk

text: Like most Southerners, Polk favored low tariffs on imported goods, and initially sympathized with John C. Calhoun's opposition to the Tariff of Abominations during the Nullification Crisis of 1832–1833, but came over to Jackson's side as Calhoun moved towards advocating secession. Thereafter, Polk remained loyal to Jackson as the President sought to assert federal authority. Polk condemned secession and supported the Force Bill against South Carolina, which had claimed the authority to nullify federal tariffs. The matter was settled by Congress passing a compromise tariff.


title: James K. Polk

text: In December 1833, after being elected to a fifth consecutive term, Polk, with Jackson's backing, became the chairman of Ways and Means, a powerful position in the House. In that position, Polk supported Jackson's withdrawal of federal funds from the Second Bank. Polk's committee issued a report questioning the Second Bank's finances and another supporting Jackson's actions against it. In April 1834, the Ways and Means Committee reported a bill to regulate state deposit banks, which, when passed, enabled Jackson to deposit funds in pet banks, and Polk got legislation passed to allow the sale of the government's stock in the Second Bank.


title: James K. Polk

text: In June 1834, Speaker of the House Andrew Stevenson resigned from Congress to become Minister to the United Kingdom. With Jackson's support, Polk ran for speaker against fellow Tennessean John Bell, Calhoun disciple Richard Henry Wilde, and Joel Barlow Sutherland of Pennsylvania. After ten ballots, Bell, who had the support of many opponents of the administration, defeated Polk. Jackson called in political debts to try to get Polk elected Speaker of the House at the start of the next Congress in December 1835, assuring Polk in a letter he meant him to burn that New England would support him for speaker. They were successful; Polk defeated Bell to take the speakership.


title: James K. Polk

text: According to Thomas M. Leonard, "by 1836, while serving as Speaker of the House of Representatives, Polk approached the zenith of his congressional career. He was at the center of Jacksonian Democracy on the House floor, and, with the help of his wife, he ingratiated himself into Washington's social circles." The prestige of the speakership caused them to move from a boarding house to their own residence on Pennsylvania Avenue. In the 1836 presidential election, Vice President Martin Van Buren, Jackson's chosen successor, defeated multiple Whig candidates, including Tennessee Senator Hugh Lawson White. Greater Whig strength in Tennessee helped White carry his state, though Polk's home district went for Van Buren. Ninety percent of Tennessee voters had supported Jackson in 1832, but many in the state disliked the destruction of the Second Bank, or were unwilling to support Van Buren.


title: James K. Polk

text: As Speaker of the House, Polk worked for the policies of Jackson and later Van Buren. Polk appointed committees with Democratic chairs and majorities, including the New York radical C. C. Cambreleng as the new Ways and Means chair, although he tried to maintain the speaker's traditional nonpartisan appearance. The two major issues during Polk's speakership were slavery and, after the Panic of 1837, the economy. Polk firmly enforced the "gag rule", by which the House of Representatives would not accept or debate citizen petitions regarding slavery. This ignited fierce protests from John Quincy Adams, who was by then a congressman from Massachusetts and an abolitionist. Instead of finding a way to silence Adams, Polk frequently engaged in useless shouting matches, leading Jackson to conclude that Polk should have shown better leadership. Van Buren and Polk faced pressure to rescind the Specie Circular, Jackson's 1836 order that payment for government lands be in gold and silver. Some believed this had led to the crash by causing a lack of confidence in paper currency issued by banks. Despite such arguments, with support from Polk and his cabinet, Van Buren chose to back the Specie Circular. Polk and Van Buren attempted to establish an Independent Treasury system that would allow the government to oversee its own deposits (rather than using pet banks), but the bill was defeated in the House. It eventually passed in 1840.


title: James K. Polk

text: Using his thorough grasp of the House's rules, Polk attempted to bring greater order to its proceedings. Unlike many of his peers, he never challenged anyone to a duel no matter how much they insulted his honor. The economic downturn cost the Democrats seats, so that when he faced re-election as Speaker of the House in December 1837, he won by only 13 votes, and he foresaw defeat in 1839. Polk by then had presidential ambitions but was well aware that no Speaker of the House had ever become president (Polk is still the only one to have held both offices). After seven terms in the House, two as speaker, he announced that he would not seek re-election, choosing instead to run for Governor of Tennessee in the 1839 election.


title: James K. Polk

text: In 1835, the Democrats had lost the governorship of Tennessee for the first time in their history, and Polk decided to return home to help the party. Tennessee was afire for White and Whiggism; the state had reversed its political loyalties since the days of Jacksonian domination. As head of the state Democratic Party, Polk undertook his first statewide campaign, He opposed Whig incumbent Newton Cannon, who sought a third two-year term as governor. The fact that Polk was the one called upon to "redeem" Tennessee from the Whigs tacitly acknowledged him as head of the state Democratic Party


title: James K. Polk

text: Polk campaigned on national issues, whereas Cannon stressed state issues. After being bested by Polk in the early debates, the governor retreated to Nashville, the state capital, alleging important official business. Polk made speeches across the state, seeking to become known more widely than just in his native Middle Tennessee. When Cannon came back on the campaign trail in the final days, Polk pursued him, hastening the length of the state to be able to debate the governor again. On Election Day, August 1, 1839, Polk defeated Cannon, 54,102 to 51,396, as the Democrats recaptured the state legislature and won back three congressional seats.


title: James K. Polk

text: Tennessee's governor had limited power—there was no gubernatorial veto, and the small size of the state government limited any political patronage. But Polk saw the office as a springboard for his national ambitions, seeking to be nominated as Van Buren's vice presidential running mate at the 1840 Democratic National Convention in Baltimore in May. Polk hoped to be the replacement if Vice President Richard Mentor Johnson was dumped from the ticket; Johnson was disliked by many Southern whites for fathering two daughters by a biracial mistress and attempting to introduce them into white society. Johnson was from Kentucky, so Polk's Tennessee residence would keep the New Yorker Van Buren's ticket balanced. The convention chose to endorse no one for vice president, stating that a choice would be made once the popular vote was cast. Three weeks after the convention, recognizing that Johnson was too popular in the party to be ousted, Polk withdrew his name. The Whig presidential candidate, General William Henry Harrison, conducted a rollicking campaign with the motto "Tippecanoe and Tyler Too", easily winning both the national vote and that in Tennessee. Polk campaigned in vain for Van Buren and was embarrassed by the outcome; Jackson, who had returned to his home, the Hermitage, near Nashville, was horrified at the prospect of a Whig administration. In the 1840 election, Polk received one vote from a faithless elector in the electoral college's vote for U.S. Vice President. Harrison's death after a month in office in 1841 left the presidency to Vice President John Tyler, who soon broke with the Whigs.