  Fundamentally, however, the gap between aesthetic experience and aesthetic judgments yields an essential difficulty for aesthetic theories since these are necessarily formulated propositionally, and therefore cannot entirely capture the richness of immediate, first-personal aesthetic experience. To his credit, Schopenhauer is quite frank about the methodological limits of aesthetic theorizing, especially in the case of music (WWR I, section 52; see also Goehr 1998; and  section 5.2.5 below). Nonetheless, he ventures forth to offer just such a theory in the hopes that through it he may convince the reader of the “importance and high value of art (which are seldom sufficiently recognized)” (WWR I, 294) and to help the reader enter a psychological space where she herself can gain the deep insights afforded by nature and the fine arts.