Jose Ortega y Gasset
Jose Ortega y Gasset
José Ortega y Gassetwas a Spanish liberal philosopher, and essayist. He worked during the first half of the 20th century, while Spain oscillated between monarchy, republicanism, and dictatorship. His philosophy has been characterized as a "philosophy of life" that "comprised a long-hidden beginning in a pragmatist metaphysics inspired by William James, and with a general method from a realist phenomenology imitating Edmund Husserl, which served both his proto-existentialism and his realist historicism, which has been compared to both Wilhelm Dilthey...
NationalitySpanish
ProfessionPhilosopher
Date of Birth9 May 1883
CountrySpain
Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove. All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world .
Better beware of notions like genius and inspiration; they are a sort of magic wand and should be used sparingly by anybody who wants to see things clearly.
The real magic wand is the child's own mind.
To be surprised, to wonder, is to begin to understand.
Youth does not require reasons for living, it only needs pretexts.
We have need of history in its entirety, not to fall back into it, but to see if we can escape from it.
By speaking, by thinking, we undertake to clarify things, and that forces us to exacerbate them, dislocate them, schematize them. Every concept is in itself an exaggeration.
The poet begins where the man ends. The man's lot is to live his human life, the poet's to invent what is nonexistent.
Human vitality is so exuberant that in the sorriest desert it still finds a pretext for glowing and trembling.
The form most contradictory to human life that can appear among the human species is the "self-sat-isfied man.
The history of the Roman Empire is also the history of the uprising of the Empire of the Masses, who absorb and annul the directing minorities and put themselves in their place. Then, also, is produced the phenomenon of agglomeration, of "the full." For that reason, as Spengler has very well observed, it was necessary, just as in our day, to construct enormous buildings. The epoch of the masses is the epoch of the colossal.
I do not deny that there may be other well-founded causes for the hatred which various classes feel toward politicians, but the main one seems to me that politicians are symbols of the fact that every class must take every other class into account.
The person portrayed and the portrait are two entirely different things.
The hero's will is not that of his ancestors nor of his society, but his own. This will to be oneself is heroism.