 Following a Schopenhauerian line of thought, Henry states that music “does not express the horizon of the world or any of its objects” (AP 292), but affectivity itself, i.e., a force—the Will in Schopenhauer—that lies outside of representation. More precisely, music is the immediate reproduction of a force that lies “outside the world” (PHV III, 264) and which is in this sense abstract. For Schopenhauer every great work of art is the expression of a force. In architecture for instance, both a Greek temple and a baroque façade express and represent forces. The specificity of music, however, lies in the fact that it expresses the Will in an immediate way. Moreover, this Schopenhauerian standpoint is taken further with regard to another idea to which Henry will agree, namely that of the living body as being the immediate manifestation of the Will. As the important chapter devoted to Schopenhauer in Genealogy of Psychoanalysis shows, Henry interprets the Will within the framework of his own concept of life as immanent auto-affection or affectivity, while at the same time acknowledging that Schopenhauer was “one of the greatest thinkers of all times, albeit a poor philosopher” (AP 292).