Canvas of Thoughts: Exploring Art, Philosophy, and Love

The 'Athenian School' painting features Plato pointing to the sky, while Aristotle has his hand on the ground. Both philosophers were deeply interested in the origins of art and its influence on people.

Plato believed that art was inspired by divine forces, while Aristotle saw it as a product of materials and tools. For Plato, art was about expressing elements of divinity, whereas for Aristotle, it was about acquiring knowledge to create forms that others could appreciate.

Schlegel argued that all sacred art forms are mere imitations of the infinite game of the world. This eternal art can only be expressed allegorically. The essence of poetry is a profound mystery that cannot be confined by preferences, people, or events—only imagination can grasp the "riddle of love" between the poet and the inspiration that encompasses them.

Science and art cannot conduct experiments without hypotheses. However, when the whole excites us, before our attention captures the peculiarities and signs inherited from feelings, heart, and mind, we can rise up and see the whole.

Centuries before Schlegel, a predecessor named Pseudo-Longinus wrote that the grandeur of poets and writers lies in the sublime, which imparts significance and greatness. Deeds born from sublime thoughts endure. Apart from profound thinking, the sublime originates from powerful and inspiring emotions. These two sources, as Pseudo-Longinus described, are inherent talents, while the use of figures of speech, eloquence employing metaphorical language, and the respect for solid arguments associated with the sources of the sublime can be acquired.

In his note "On Sublimity," the author combines Plato's and Aristotle's perspectives on art. Longinus argues that nature functions according to its own laws but is not chaotic and therefore requires a method. Natural talents can be hindered without knowledge, balance, and valuable guidance to prevent overwhelming self-doubt.

Young Poets

Goethe frequently interacted with young poets and offered them advice. In his work "Records of Literature and Art," he discusses the challenges faced by young talents who rely solely on dreams, hopes, and imagination, ultimately leading to their downfall and preventing them from living fulfilling and active lives.

Goethe advised them to identify their strengths and diligently cultivate them. He pondered the concept of transformation when someone proclaimed their freedom, doubting the ability to transcend one's own limitations. He advised poets to establish their own standards, focusing only on experiences that offer some form of guidance, and to avoid composing meaningless verses lamenting lost loves due to disappearance, doubt, or death.

In his writings, Goethe expresses regret over humanity's inherent limitations and the instability of their reasoning, willpower, and capabilities. He observes that people's opinions often clash due to their profound differences and highlights the futility of attempting to please the present moment, instead extolling the benefits of actions that yield rewards in the future. These ideas are reflected in Goethe's writings, and his literary works consistently embody his philosophical outlook.

Teachings on Love

The theme of love is limitless in philosophy and art. Plato explores Eros, the god of desire, passion, and love, in the work "A Feast of Love." The origin of the word "love" in both Greek and Latin derives from the concept of duty and desire. The Plato Medicines Goose Institute discovers that Agathon's triumph in tragedies and the unsolicited praises of love is regarded as a "miracle" by both gods and humans. The fault of Eros is presented as the oldest, most esteemed, and significant one.

Each character in the dialogue expresses their own unique perspective on love. Fedra perceives love as a source of shame, embarrassment, and competition for beauty. Pausani, a geographer, associates love with different experiences found in various locations, comparing it to a work of art that is either done well and becomes beautiful, or done poorly and becomes ugly. Eriximah, a doctor, views Eros as a healing force, emphasizing the importance of the body's erotic relationships as sources of fulfillment and release. Aristophanes portrays Eros as a great friend to humanity, using humor to explore the interconnected nature of the sexes. The gods, perplexed by their round shape and connection, ultimately divided them into two halves.

Agaton, on the other hand, believes that the focus should be on Eros himself rather than the benefits derived from him. He praises Eros as the embodiment of youth, justice, prudence, bravery, and wisdom, emphasizing its role in fostering spiritual creativity and promoting peace among people.

The characters offered different perspectives, constructing a picture that portrays love as the alpha and omega, encompassing all aspects of human existence. The sixth seat provided a deeper understanding of love's essence. During the feast, Socrates shared Diotima's teachings. Socrates' neighbor concluded that Eros is simultaneously a love for nothing and a love for something, driven by desire and affection. Love is presented as ambiguous and defies definition, as Diotima's teachings suggest that it is neither exclusively beautiful nor good, nor evil nor ugly, but exists somewhere in between.

Love is always best found "between" and in the "middle." Love fills the void left by death and never truly dies. "By taking it at all," the woman remarked, "love tends to always belong to what is good to her." It points Socrates in the direction of the "secret love" that vanishes as soon as we get close enough to them since what requires so much work to become conscious of is incompatible with what is "in itself and with it one-sided and eternal."

The route to love passes from the personal charms that lull it to the grandeur where the essence resides. It is forced upon someone to see as though they are in a dream until they are able to perceive beauty itself if they are unable to recognize more than just individual beauty.