A well-known term in eighteenth-century literature and philosophy, the “beautiful soul” (die schöne Seele) has resurfaced in recent years. Deleuze refers to the beautiful soul’s “religiosity” and argues that aggressive “selection” is necessary as its antidote. However, in volatile contexts of social destabilization, such selection risks recoiling into reactionary violence. After first developing in more detail the beautiful soul’s background as a discursive figure, I argue that understanding Deleuze’s selection within a context of spiritual (...) experience is necessary to mitigate this worry. Exploration of this experience is pursued through juxtaposition of Deleuze’s thought with Nishida Kitarō’s investigation of the ontological structure of religious consciousness. The comparative resonances I develop suggest an ontological objectivity to the problems and structuring of the logos of religious consciousness and show how a more explicitly spiritual rendering of “selection,” developed through the Deleuze/Nishida encounter, intervenes into the broader beautiful soul problematic. (shrink)

For many eighteenth-century European philosophers and writers, the "beautiful soul" was a symbol of enlightened humanity, carrying with it the possibility that aesthetic beauty and moral goodness would be fused in a new, indivisible unity. In the first book in English on the subject, Robert E. Norton follows the fortunes of this cultural icon, exploring the reasons for both its initial popularity and its subsequent decline as a cultural ideal during the Enlightenment.

In lieu of an abstract, here is a brief excerpt of the content:The Beautiful Soul:From Hegel to BeckettDrew Milne (bio)The "beautiful soul," lacking an actual existence, entangled in the contradiction between its pure self and the necessity of that self to externalize itself and change itself into an actual existence, and dwelling in the immediacy of this firmly held antithesis—an immediacy which alone is the middle term reconciling the antithesis, which has been intensified to its pure (...) abstraction, and is pure being or empty nothingness—this "beautiful soul," then, being conscious of this contradiction in its unreconciled immediacy, is disordered to the point of madness, wastes itself in yearning and pines away in consumption.—G. W. F. Hegel, Phenomenology of SpiritThe figure of the beautiful soul marks out a limit of representation. Its persistence is that of a literary fiction which cannot be actualized, but whose imaginative lure is no less powerful for being so resistant to embodiment. The beautiful soul emerges in a shift from philosophical reflections on moral beauty into the romantic novel, but for Robert E. Norton, the history of the beautiful soul is brought to a close by Hegel [139]. Nevertheless, the way this figure stands between philosophy and literature, and between moral agency and the literary imagination, casts shadows over contemporary thought. Unreconciled immediacy, disordered by consciousness of its contradiction and proximity to pure abstraction, becomes the sign of modern art, perhaps most explicitly in the writings of Samuel Beckett. In The Broken Middle, Gillian Rose projects the beautiful soul out of Hegel and Goethe into a speculative account of modern thought's ethical equivocations. For Allen Speight, Hegel's recourse to the awkward literary and novelistic status of the beautiful soul reveals how "inescapable questions discernible in the products of modern literary artists are ones that concern the account we give of our freedom as modern agents" [135]. This essay seeks to unravel some of the contemporary relevance of the beautiful soul, exploring the instability of this figure as a mediation between philosophy and literature, in particular as a tension in the interpretation of Hegel's Phenomenology of Spirit.The difficulties posed by the beautiful soul for interpreting Hegel can be gleaned from Terry Pinkard's impressively lucid survey German Philosophy, 1760-1860. Pinkard notes how Hegel's discussion of the beautiful soul in the Phenomenology of Spirit "makes oblique reference to Goethe, Friedrich Schlegel, Fichte, Fries, Novalis, perhaps Rousseau, and maybe even Hölderlin" [240n19] before ascribing centrality in Hegel's discussion to Jacobi's novel Waldemar. Oblique reference folds into a structure whose indeterminacy concerns both the freedom claimed by literary representations of the beautiful soul, and the inability of this freedom to amount to more than a confession of conceptual paralysis or impotence. The beautiful soul proves resistant to interpretation, a literary-philosophical compound that destabilizes conventions of referentiality. The beautiful soul threatens to dissolve philosophy from the perspective of an inward delicacy of moral feeling, claiming [End Page 63] [Begin Page 65] the authenticity of a subjectivity that will do no wrong and knows no other as an object on which to act. Philosophical interpretations are often too brusque with the reflexive irony through which the beautiful soul is represented, or insufficiently literal-minded to capture its content as form. In turn, the self-critical claims of literary representation often dissolve into an ironic indifference to determinate consequences.The beautiful soul, however, can hardly be said to have existed outside its representation in writing. It recurs in manifold guises more as an aspiration to be, or appear, morally sensitive but incapable of action. Donald Phillip Verene sketches its background in the Romantic movement but suggests that: "The beautiful soul is not difficult to understand, as Hegel sketches it in the several pages he devotes to it. We are familiar in ordinary experience with types of persons that approximate to the stance of the beautiful soul, that is, if we keep polite company and associate from time to time with delicate people" [100-01]. Anyone who has spent time with aesthetes or poets who claim a delicacy of moral insight without feeling the need of justification or labor to actualize their insights knows the ills this shape of... (shrink)

In his extended essay "On Grace and Dignity," Friedrich Schiller sets out an important challenge to Kant when he argues that sensibility must play a constitutive role in the ethical life. This paper argues that there is much we can learn from Schiller's "corrective" to Kant's moral theory and Kant's reply to this critique, for what is at stake in their debate are rival conceptions of the proper state of moral health for us as finite rational beings and competing political (...) notions concerning the ideal form of self-governance that we ought to strive to attain. (shrink)

What is law? How is legal responsibility defined? How does law reflect moral judgment? Why are law's definitions uncertain and conflicted? Basic questions for liberal law and criminal justice - what could they have to do with the forgotten historical figure of the Beautiful Soul? Starting from concrete legal issues, Alan Norrie develops a critical vision of law in its relation to morality and socio-historical context. Liberal law, he argues, is marked by splits and contradictions (antinomies), signs of (...) something missed. Traced historically, such conflicts can be read today in law's treatment of legality and justice, judgment and responsibility. A critical understanding must also be self-critical. From splits in law, Norrie moves to the split in critique: between its socio-historical and ethical forms. Drawing on critical realism and deconstruction, on the dialectics of Hegel, Adorno and Bhaskar, he argues for a form of critical thought that is at once historical and ethical. Thinking critically about critique finally leads to the Beautiful Soul, and its unexpected relation to law. These essays will be of interest to academics and advanced students of legal theory; criminal law, criminology and criminal justice; law and social theory; and critical legal studies. (shrink)

This paper explores one means of connection between Whitehead and Deleuze through an investigation into the figure of the ‘beautiful soul’. I first examine Deleuze’s claim that a philosophy of difference risks a ‘new’ version of the beautiful soul, situating this figure in its historical context in Hegel. I then consider why Whitehead may initially appear to fall into the trap of the beautiful soul before arguing that this is not the case. Seeing how (...) brings Whitehead and Deleuze closer together by showing that their respective insistences on the risks, dangers, and adventures integral to speculative thinking highlight the importance of the intersection between the existential and the metaphysical. (shrink)

This article discusses Leo Tolstoy’s view of the Russian revolutionary movement. Taking as a focal point the writer’s lifelong interest in the Decembrist uprising of 1825 and particularly in the personalities of the gentry revolutionaries, the article argues that Tolstoy’s fascination for these figures was due to their superior moral qualities, rather than to their political and socioeconomic doctrines. Following Alexander Herzen, Tolstoy came to regard the Decembrists as full-fledged individualities and “beautiful souls”. Thus, Tolstoy’s much debated “conversion” and (...) subsequent attempts to transform literary art into a medium of religious and moral reform can also be viewed as extensions of his project of self-understanding and self-formation according to the model of kalokagathia provided by Russia’s aristocratic revolutionaries. (shrink)

This paper explores one means of connection between Whitehead and Deleuze through an investigation into the figure of the ‘beautiful soul’. I first examine Deleuze's claim that a philosophy of difference risks a ‘new’ version of the beautiful soul, situating this figure in its historical context in Hegel. I then consider why Whitehead may initially appear to fall into the trap of the beautiful soul before arguing that this is not the case. Seeing how (...) brings Whitehead and Deleuze closer together by showing that their respective insistences on the risks, dangers, and adventures integral to speculative thinking highlight the importance of the intersection between the existential and the metaphysical. (shrink)

Resumen: Varios comentaristas han sostenido que la ontología de la concepción hegeliana de “alma bella” se funda en la determinación conocida como “mal infinito”, desarrollada en la Doctrina del Ser. En correlación con lo antedicho, comentaristas como Paha, Hinchman, Solomon y Harris sostienen que Hegel pensaba en el sistema filosófico fichteano al momento de desarrollar su concepción de “alma bella”. Sin embargo, esta hipótesis de lectura adolece de algunas falencias que serán desarrolladas a continuación. En primer lugar, es necesario realizar (...) una breve exposición de la figura del Espíritu conocida como “alma bella”; en segundo lugar, se describirá la determinación denominada “mal infinito”; en tercer lugar, se desarrollarán los problemas que conlleva la mencionada exégesis; en cuarto lugar, se expondrán las objeciones a la inclusión de la filosofía de Fichte como ejemplo de la concepción hegeliana de “alma bella”. Finalmente, se expondrán las conclusiones.: Many scholars have stated that the ontology of the Hegelian notion of “beautiful soul” is grounded in the category known as “bad infinite”, developed in the Doctrine of Being. Regarding this, scholars like Paha, Hinchman, Solomon and Harris state that Hegel was thinking of the Fichtean philosophical system as He developed his own notion of “beautiful soul”. However, this interpretation has some issues, which will be developed below. First, we give a short explanation about the shape of the Spirit known as “beautiful soul”. Second, we describe the category called “bad infinite”. Third, we show the issues related to the interpretation. Fourth, we present the objections to the inclusion of the Fichtean philosophy as an example of the Hegelian notion of “beautiful soul”. Finally, we present the conclusions. (shrink)

H.L.A. Hart’s legal positivism displaces the authority of institutions and emphasizes the independence of personal moral judgment. While such a position has an obvious appeal, we should not fail to acknowledge the extent to which values are articulated within established practices. In this essay, civility and law are offered as examples of practices that embody distinctive values and can properly be understood only by reference to such values. It is suggested that legal positivism is driven by a moral metaphysic wherein (...) abstractly conceived principles confront neutrally described facts. But values cannot, without distortion, be understood in abstraction from the practices and forms of association within which they find expression. The refusal to recognize this fact fosters moral skepticism rather than individual moral responsibility. (shrink)

Why do physicians who've taken the Hippocratic Oath willingly cut into seemingly healthy patients? How do you measure the success of surgery aimed at making someone happier by altering his or her body? Sander L. Gilman explores such questions in Creating Beauty to Cure the Soul, a cultural history of the connections between beauty of body and happiness of mind. Following these themes through an impressive range of historical moments and players, Gilman traces how aesthetic alterations of the body (...) have been used to "cure" dissatisfied states of mind. In his exploration of the striking parallels between the development of cosmetic surgery and the field of psychiatry, Gilman entertains an array of philosophical and psychological questions that underlie the more practical decisions rountinely made by doctors and potential patients considering these types of surgery. While surveying and incorporating the relevant theories of Sigmund Freud, Alfred Adler, Karl Menninger, Paul Schilder, contemporary feminist critics, and others, Gilman considers the highly unstable nature of cultural notions of health, happiness, and beauty. He reveals how ideas of race and gender structured early understandings of aesthetic surgery in discussions of both the "abnormality" of the Jewish nose and the historical requirement that healthy and virtuous females look "normal," thereby enabling them to achieve invisibility. Reflecting upon historically widespread prejudices, Gilman describes the persecutions, harrassment, attacks, and even murders that continue to result from bodily difference and he encourages readers to question the cultural assumptions that underlie the increasing acceptability of this surgical form of psychotherapy. Synthesizing a vast body of related literature and containing a comprehensive bibliography, Creating Beauty to Cure the Soul will appeal to a broad audience, including those interested in the histories of medicine and psychiatry, and in philosophy, cultural studies, Jewish cultural studies, and race and ethnicity. (shrink)

The ‘aesthetic theory of virtue’ or ATV, is the thesis, partly inspired by Thomas Reid, that virtue coincides with beauty of soul and vice with ugliness of soul. The basic idea of ATV is that for a person to be virtuous is for his soul to have certain aesthetic properties, which are necessary and sufficient conditions for personal goodness. The relation between morally aesthetic properties and moral attributes is one of supervenience of the former upon the latter. (...) McGinn cites the film Brief Encounter to illustrate the concept of the beautiful soul, and he also draws upon Nabokov's discussion of the aesthetic in Lolita. A morally bad character, McGinn argues, cannot have a beautiful soul, nor can a morally good character have an ugly soul. (shrink)

Introduction -- The form of happiness -- Affirmation -- Beauty is everywhere -- Love of life -- Fundamental OK -- The uniqueness of each moment -- Taste -- Spontaneity -- The reality of reality -- Healing -- Beauty cures -- Creative expression -- Nature and music -- The invisible ally -- The heart of beauty -- Sharing -- The beauty of the soul -- Good and beautiful -- Aesthetics and biology -- Knowledge -- Mind and beauty -- Revelation (...) -- Hidden resonance -- Trascendence -- Self, nature, and society -- Abuse vs. awe -- Beauty is the opposite of war. (shrink)

This paper, aims at focusing on Plotinus’ concept of beauty, from the perspective of the human person. That is to say, what does beauty do to the human person and how beauty affects and transforms the human person, and by extension how the beautiful soul could transform the world. Attention has been given to Plotinus’ aesthetics mostly within the general scope of Platonism, focusing on the notion of beauty as form (intellectual beauty) and on the question whether or (...) not beauty is conceived as symmetry both in Plato and Plotinus. This paper claims, that the notion of beauty for Plotinus is an ecstatic experience of the soul. Thus for Plotinus, beauty is not just aesthetical, it is more so a spiritual experience in the soul. This focus on Plotinus’ notion of beauty is considered important because the philosophical focus on beauty has largely been on the object out there. And even when a subjective focus is given on the concept of beauty, it is not largely focused on the spiritual transformation of the human person. Hence, this paper, is an analytical exposition of Plotinus’ works on beauty. (shrink)

Aesthetics is not an area to which the Stoics are normally understood to have contributed. I adopt a broad description of the purview of Aesthetics according to which Aesthetics pertains to the study of those preferences and values that ground what is considered worthy of attention. According to this approach, we find that the Stoics exhibit an Aesthetic that reveals a direct line of development between Plato, the Stoics, Thomas Aquinas and the eighteenth century, specifically Kant’s aesthetics. I will reveal (...) an interpretation of the aesthetic of the Stoics which has more explanatory power for the history of aesthetic theory than a history of aesthetic theory which leaves out the Stoics. (shrink)

Ralph Waldo Emerson once wrote: “In the tranquil landscape, and especially in the distant line of the horizon, man beholds somewhat as beautiful as his own nature” (2003. 39). Th e poet captures nicely an idea, dominant in the contemporary environmental aesthetics, namely, that aesthetic appreciation of nature is intimately connected with the moral nature within us. Many of us have experienced when in contact with nature that its beauty moves us in a way that goes deeper than its (...) initial appeal; it elicits in us a feeling of comfort, hope, a sense of well-being and belonging to the world. My aim in this paper is to propose an explanation of the connection between our aesthetic experience of natural beauty and our moral ideas. I approach this problem in light of Kant’s aesthetic theory put forward in the Critique of the Power of Judgment. (shrink)

Does the universe embody beautiful ideas? Artists as well as scientists throughout human history have pondered this "beautiful question." With Nobel laureate Frank Wilczek as your guide, embark on a voyage of related discoveries, from Plato and Pythagoras up to the present. Wilczek's groundbreaking work in quantum physics was inspired by his intuition to look for a deeper order of beauty in nature. In fact, every major advance in his career came from this intuition: to assume that the (...) universe embodies beautiful forms, forms whose hallmarks are symmetry--harmony, balance, proportion--and economy. There are other meanings of "beauty," but this is the deep logic of the universe--and it is no accident that it is also at the heart of what we find aesthetically pleasing and inspiring. As he reveals here, this has been the heart of scientific pursuit from Pythagoras, the ancient Greek who was the first to argue that "all things are number," to Galileo, Newton, Maxwell, Einstein, and into the deep waters of twentieth-century physics. Gorgeously illustrated, A Beautiful Question is a mind-shifting book that braids the age-old quest for beauty and the age-old quest for truth into a thrilling synthesis. Yes: the world is a work of art, and its deepest truths are ones we already feel, as if they were somehow written in our souls.--From publisher description. (shrink)

While there is a great deal of scholarly inquiry into the Suzuki Method of music instruction, few resources examine how the various aesthetic and pedagogic themes associated with the Suzuki Method are grounded in Dr. Shinichi Suzuki’s sense of self. Using the notion of authenticity—being true to oneself—as an investigative underpinning, I trace the trajectory of Suzuki’s personal grounding from the pivotal events of his youth to the emergence in his eighties of the signature statement, “Beautiful tone with living (...) soul, please.” What comes from this investigation is an appreciation that Suzuki’s sense of self carries with it not only a consideration for the life affirming and transformational potential of music, but also an invitation for teachers to purposefully engage in meaning-making and music-making experiences reflective of what it means to be true to oneself. (shrink)

Ours is an age full of desires but impoverished in its understanding of where those desires lead—an age that claims mastery over the world but also claims to find the world as a whole absurd or unintelligible. In The Vision of the Soul, James Matthew Wilson seeks to conserve the great insights of the western tradition by giving us a new account of them responsive to modern discontents. The western— or Christian Platonist—tradition, he argues, tells us that man is (...) an intellectual animal, born to pursue the good, to know the true, and to contemplate all things in beauty. Wilson begins by reconceiving the intellectual conservatism born of Edmund Burke’s jeremiad against the French Revolution as an effort to preserve the West’s vision of man and the cosmos as ordered by and to beauty. After defining the achievement of that vision and its tradition, Wilson offers an extended study of the nature of beauty and the role of the fine arts in shaping a culture but above all in opening the human intellect to the perception of the form of reality. Through close studies of Theodor W. Adorno and Jacques Maritain, he recovers the classical vision of beauty as a revelation of truth and being. Finally, he revisits the ancient distinction between reason and story-telling, between mythos and logos, in order to rejoin the two. Story-telling is foundational to the forms of the fine arts, but it is no less foundational to human reason. Human life in turn constitutes a specific kind of form—a story form. The ancient conception of human life as a pilgrimage to beauty itself is one that we can fully embrace only if we see the essential correlation between reason and story and the essential convertibility of truth, goodness and beauty in beauty. By turns a study in fundamental ontology, aesthetics, and political philosophy, Wilson’s book invites its readers to a renewal of the West’s intellectual tradition. (shrink)

This is an 18,500 word bibliography of philosophical scholarship on Beauty which was published online in the Oxford Bibliographies Online. The entry includes an Introduction of 800 words, 21 x 400-word sub-themes and 168 annotated references. INTRODUCTION Philosophical interest in beauty began with the earliest recorded philosophers. Beauty was deemed to be an essential ingredient in a good life and so what it was, where it was to be found and how it was to be included in a life were (...) prime considerations. The way beauty has been conceived has been influenced by an author’s other philosophical commitments, metaphysical, epistemological and ethical and such commitments reflect the historical and cultural position of the author. For example, beauty is a manifestation of the divine on earth to which we respond with love and adoration; beauty is a harmony of the soul which we achieve through cultivating feeling in a rational and tempered way; beauty is an idea raised in us by certain objective features of the world; beauty is a sentiment which can nonetheless be cultivated to be appropriate to its object; beauty is the object of a judgment by which we exercise the social, comparative and inter-subjective elements of cognition and so on. Such views on beauty not only reveal underlying philosophical commitments but also reflect positive contributions to understanding the nature of value and the relation of mind and world. One way to distinguish between beauty theories is according to the conception of the human being that they assume or imply, for example, where they fall on the continuum from determinism to free will, ungrounded notions of compatibilism notwithstanding. For example, theories at the latter end might carve out a sense of genuine innovation and creativity in human endeavours while at the other end of the spectrum authors may conceive of beauty as an environmental trigger for consumption, procreation or preservation in the interests of the individual. Treating beauty experiences as in some respect intentional, characterises beauty theory prior to the twentieth century and since, mainly in historically inspired writing on beauty. On the other hand, treating beauty as affect or sensation has always had its representatives and is most visible today in evolutionary inspired accounts of beauty (though not all evolutionary accounts fit this classification). Beauty theory falls under some combination of metaphysics, epistemology, meta-ethics, aesthetics and psychology. While in the twentieth century beauty was more likely to be conceived as an evaluative concept for art, recent philosophical interest in beauty can again be seen to exercise arguments pertaining to metaphysics, epistemology, meta-ethics, philosophy of meaning and language in addition to philosophy of art and environmental aesthetics. (shrink)

I present Hegel’s position that beauty and moral agency cannot be paired in any productive way, demonstrating this as a culminating claim of the sixth chapter of The Phenomenology of Spirit. In this, we learn that for Hegel, beauty claims an ambiguous position, always eviscerated yet never fully put to rest. This dialectical tension requires that we attend to the place of beauty as it appears in Hegel’s thoughts on morality and marks a departure from a long-standing tradition – exemplified (...) in the work of such thinkers as Plato, Immanuel Kant, the ‘Beautiful Souls’ of 18th-century German Romanticism and Elaine Scary – that matches moral goodness with beauty. (shrink)

Classical Greece is famous for its athletic art, particularly the image of the nude male athlete. But how did the Greeks understand athletic beauty? Plato, Aristotle, Xenophon, and others discuss athletes’ beauty, while the educational ideal of kalokagathia conceptually connects athletic beauty with the good. More questions need to be answered, however, if we are to understand ancient athletic beauty. We need to ask ourselves what the Greeks appreciated when they looked at athletic bodies. What did those qualities mean to (...) them? In what way was it erotic? How did it differ for females and males? In this paper I argue that the beautiful athletic body is framed in ancient Greek thought, not just as an aesthetically pleasing image, but as an ideal expression of a certain kind of soul. (shrink)

Since antiquity, scholars have observed a structural tension within Plato’s Phaedrus. The dialogue demands order in every linguistic composition, yet it presents itself as a disordered composition. Accordingly, one of the key problems of the Phaedrus is determining which—if any—aspect of the dialogue can supply a unifying thread for the dialogue’s major themes (love, rhetoric, writing, myth, philosophy, etc.). My dissertation argues that “soul-leading” (psuchagōgia)—a rare and ambiguous term used to define the innate power of words—resolves the dialogue’s structural (...) tension. I clarify the conceptual and dramatic features of soul-leading by focusing on the dialogue’s uniquely prevalent use of the semantic network of “leading” and “following.” By continuing to foreground the language and drama of leading and following, I offer a new interpretation of the dialogue as a whole: the Phaedrus is Plato’s articulation of how the soul can be led into communion with reality. Chapter 1 discusses scholarly disputes about the unity of the Phaedrus and proposes that soul-leading adequately satisfies the criteria put forward for what would count as a unifying element. I argue that soul-leading unifies the dialogue both thematically and non-thematically; moreover, soul-leading is a theme capacious enough to account for the other principal contenders for unity put forward. Chapter 2 develops the ambiguous character of soul-leading by examining how the dialogue showcases dangerous forms thereof. Love and language are dangerous when they lead the soul toward goods which can never truly fulfill it. In order to clarify how love and language can mislead the soul, Socrates develops a set of accounts of how the soul is led, both internally and externally, in the three speeches on love. If the soul is to be led into communion with reality (the proper end of soul-leading), it must be led internally by the right part of the soul and externally by the right object of desire. Chapter 3 argues that all souls can, in principle, be harmonized and directed in the way that Chapter 2 requires. I show that Plato’s view of philosophy is neither elitist (i.e., some are intrinsically incapable of philosophy) nor naively essentialist. All can come into communion with reality because all are by nature equipped to do so. While Plato recognizes that there are forces which tend to prohibit one from exercising one’s capability of being rightly led, none of them are intrinsic to human nature. Chapter 4 argues that successful soul-leading require neither the leader nor the follower to be already well-disposed to what’s ultimate in order for the pair to come to a communion with what’s ultimate. Plato’s depiction of soul-leading love shows that love can itself promote the formation needed for both leader and follower to come into contact with reality. Love can do so because it is always already bound up reality in its responsiveness to beauty. Beauty itself calls the lover to itself by shining through the beautiful beloved, who acts as a reminder of transcendent Beauty. The lover mediates this same experience for the beloved. Each comes to desire the other as well as Beauty itself. Chapter 5 argues that the drama of the lovers’ formation mythically depicted in the Palinode (Chapter 4) is written into the drama of the dialogue as a whole. In the relationship between Socrates and Phaedrus, we see an enactment of love’s formative role. Likewise, in the relationship between Phaedrus and Lysias, we see an enactment of the dangerous soul-leading discussed in Chapter 2. My focus on leading and following also allows me to show the thematic significance of the drama’s setting. Chapter 6 articulates the metaphysical conditions under which one can be led into communion with reality. Transcendent Beauty invites us into communion with itself and makes possible our ascent by providing us with divine guides and images which can transport us from our ordinary experiences to the true beings. Beauty accomplishes its work—leading us in a “divine dance” where we follow the gods up to Beauty and back down to each other—through images. When we handle images of reality rightly, they lead our souls into communion with reality. Further, when we have come into communion, we’ll be inspired to be co-workers of Beauty’s soul-leading work. When we articulate reality in language, we create new images that can serve to lead others toward reality. (shrink)

This chapter presents several of the dominant ideas and intellectual debates about human beauty from archaic Greece to early Christianity. At issue are ideals of character, ethical ideals of who one should be and how one should live. What constitutes beauty and why beauty matters change alongside conceptions of body and soul, virtue and happiness, and the relationship between human beings and the divine.

A compelling defense of the sacred by one of today's leading philosophers In The Soul of the World, renowned philosopher Roger Scruton defends the experience of the sacred against today's fashionable forms of atheism. He argues that our personal relationships, moral intuitions, and aesthetic judgments hint at a transcendent dimension that cannot be understood through the lens of science alone. To be fully alive—and to understand what we are—is to acknowledge the reality of sacred things. Rather than an argument (...) for the existence of God, or a defense of the truth of religion, the book is an extended reflection on why a sense of the sacred is essential to human life—and what the final loss of the sacred would mean. In short, the book addresses the most important question of modernity: what is left of our aspirations after science has delivered its verdict about what we are? Drawing on art, architecture, music, and literature, Scruton suggests that the highest forms of human experience and expression tell the story of our religious need, and of our quest for the being who might answer it, and that this search for the sacred endows the world with a soul. Evolution cannot explain our conception of the sacred; neuroscience is irrelevant to our interpersonal relationships, which provide a model for our posture toward God; and scientific understanding has nothing to say about the experience of beauty, which provides a God’s-eye perspective on reality. Ultimately, a world without the sacred would be a completely different world—one in which we humans are not truly at home. Yet despite the shrinking place for the sacred in today’s world, Scruton says, the paths to transcendence remain open. (shrink)

In the Timaeus Plato describes the world as the ‘most beautiful’ of generated things. Perhaps indeed this is the first systematic description of the beauty of the world. It is, at any rate, one of the most influential statements of the theme. The Stoics were deeply convinced by it and later, in the third century A.D., at a time when contempt and hate for the world were propagated by Gnostic movements, Plotinus, interpreting the Timaeus, would write magnificent passages on (...) the beauty and value of the world. But what does Plato mean by the ‘beauty’ of the world? What makes the world beautiful? In this paper these questions are approached first by a brief discussion of the distinction which Plato appears to make in the Timaeus between beauty and the good. In one passage ‘measure’ seems to relate to this distinction. It is suitable then to look at a section of another late work of Plato, the Philebus, where the themes of beauty, goodness and measure may be compared in more detail. The theme of measure then takes us back to the Timaeus, in order to examine the role played by measure, in particular mathematical measure, in constituting the beauty of the world. I discuss in detail the way in which mathematical structures make for the beauty of soul and body in the living whole that is the world. (shrink)

This paper offers a philosophical argument for the “fittingness” of the unusual order in which Hans Urs von Balthasar’s Trilogy articulates the transcendentalproperties of being: first beauty, then goodness, then truth. It begins with a presentation of the order Aquinas gives in De veritate, qu. 1, art. 1, in which truthfollows upon being and then goodness follows upon truth insofar as cognition for Aquinas precedes desire. The paper then explains the significance of the primacy Balthasar gives to beauty, in contrast (...) to Aquinas, and how this primacy entails an interpretation of truth as the final fruit of the soul’s engagement with reality under the aspect of goodness. It is precisely the conception of truth that emerges as the final transcendental, rather than the first, that serves to open the human horizon to biblical theology, which is one of the ultimate aims of the Trilogy. (shrink)

After concluding in the introduction that different things are beautiful in different ways, the first section of the treatise focuses on sensory beauty or beauty of bodies. Rejecting symmetry as a sufficient criterion for beauty, Plotinus explains that things in this world are beautiful to the extent that they participate in form and to the extent that shapeless matter is dominated by shape and the formative principle. Sensory beauty stirs the soul and helps it to recognise and (...) remember transcendental beauty. (shrink)