Self-discipline, ethics, character, and philosophy in Hindu poetry; criticism to Bhagavad Gita, Nītīśāstra, Sāra-samuccaya, etc.

The Bhagavata Purana is one of the most important, central and popular scriptures of Hinduism. A medieval Sanskrit text, its influence as a religious book has been comparable only to that of the great Hindu epics, the Ramayana and the Mahabharata. Ithamar Theodor here offers the first analysis for twenty years of the Bhagavata Purana often called the (Fifth Veda) and its different layers of meaning. He addresses its lyrical meditations on the activities of Krishna (avatar of Lord Vishnu), (...) the central place it affords to the doctrine of bhakti religious devotion and its treatment of older Vedic traditions of knowledge. At the same time he places this subtle, poetical book within the context of the wider Hindu scriptures and the other Puranas, including the similar but less grand and significant Vishnu Purana. The author argues that the Bhagavata Purana is a unique work which represents the meeting place of two great orthodox Hindu traditions, the Vedic Upanishadic and the Aesthetic. As such, it is one of India's greatest theological treatises. This book illuminates its character and continuing significance. (shrink)

Philosophy of The Bhagavad Gita: A Contemporary Introduction presents a complete philosophical guide and new translation of the most celebrated text of Hinduism. While usually treated as mystical and religious poetry, this new translation focuses on the philosophy underpinning the story of a battle between two sets of cousins of the Aryan clan. Designed for use in the classroom, this lively and readable translation: - Situates the text in its philosophical and cultural contexts - Features summaries and chapter analyses (...) and questions at the opening and end of each of the eighteen chapters encouraging further study - Highlights points of comparison and overlap between Indian and Western philosophical concepts and themes such as just war, care ethics, integrity and authenticity - Includes a glossary allowing the reader to determine the meaning of central concepts Written with clarity and without presupposing any prior knowledge of Hinduism, Philosophy of the Bhagavad Gita: A Contemporary Introduction reveals the importance and value of reading the Gita philosophically. (shrink)

On aestietics in Hindu philosophy and Sanskrit poetry.

Philosophy certainly has connections with science but it is not itself a science. Nor is it literature. But it is related to literature in a way that excessive emphasis on science can obscure. In this paper I defend the rather old-fashioned view that philosophy is essentially linguistic. I also argue, less conventionally, that there is an unavoidable personal aspect to at least some philosophical problems, and in answering them we must speak for ourselves without being able to count on every (...) other speaker of our language agreeing with us or even understanding what we say. Where the rules of our language are not set we must, so to speak, make them up for ourselves as we go. In this way philosophy requires the kind of linguistic creativity more often associated with poetical kinds of literature. Drawing on the work of Cora Diamond and Alice Crary, I argue that philosophy should be regarded as, not identical with, but continuous with poetry. (shrink)

Philosophy and Poetry is the 33rd volume in the Midwest Studies in Philosophy series. It begins with contributions in verse from two world class poets, JohnAshbery and Stephen Dunn, and an article by Dunn on the creative processthat issued in his poem. The volume features new work from an internationalcollection of philosophers exploring central philosophical issues pertinent topoetry as well as the connections between the two domains.

The relations of philosophy and poetry include but are not exhausted by Plato’s hostility to mimetic poetry in the Republic and Aristotle’s defence of it in the Poetics. For poetry has often carried a philosophical message itself, from the work of Chaucer and Milton to that of T.S. Eliot. In yet earlier generations, poetry was chosen as the medium for conveying a philosophical message by (among Greek philosophers) Xenophanes, Parmenides and Empedocles, and (at Rome) by Lucretius, (...) who struggled both with the Latin language and with the standard metre of didactic poetry, hexameters, to spread what he considered enlightenment and to reach for his Epicureanism an audience that might otherwise have remained unreached. To the extent that poets such as Lucretius succeeded, the philosophical critics of poetry in the tradition of Plato would have to recognise merit in some mimetic poetry. (Thus Lucretius compares clouds of atoms to flocks of sheep, which he graphically depicts.) Yet a defence of poetry other than Aristotelian katharsis would be needed for works such as those of Empedocles and Lucretius. Perhaps Enlightenment can be conveyed equally well in verse as in prose, mimetic components notwithstanding; for some purposes perhaps itcan be conveyed uniquely well. De nihilo nil fit, to quote Lucretius, comprises an example. (shrink)

The assent of man, Michael Berube -- Getting rid of the appearance-reality distinction -- Universalist grandeur and analytic philosophy -- Romanticism, narrative philosophy, and human finitude.

Professor Brett has some direct acquaintance with a Joint Honours Degree in English Literature and Philosophy: and it is therefore on the basis of his own experience that he warns us that poetry and philosophy are “difficult pursuits for any man to combine” . This book has an introductory chapter and a short epilogue which deal in a philosophical way with meaning in poetry and in imaginative literature generally and with the nature of critical interpretation.In the four middle (...) chapters the author gives his account of four well-known and much discussed poems: Lycidas, the Essay on Man, the Ancient Mariner and the Four Quartets . One could imagine these chapters presented independently as interpretations and discussions of the literary and historical background of the poems: but they certainly illustrate Mr. Brett's theory of meaning in poetry and this provides a certain unity. Parts of Chapter I were first published by the author in Philosophy . What is new is the particular application of the theory to didactic and discursive poetry. To this is now added a discussion of rival theories of interpretation: first, the view expressed by Wimsatt and Beardsley in “The Intentional Fallacy” ; and, second, the views expressed by Miss Kathleen Raine in her essay on Blake. (shrink)

Formalized by the tenth century, the expansive Bhāgavata Purāṇa resists easy categorization. While the narrative holds together as a coherent literary work, its language and expression compete with the best of Sanskrit poetry. The text's theological message focuses on devotion to Krishna or Vishnu, and its philosophical outlook is grounded in the classical traditions of Vedānta and Sāmkhya. This translation and detailed analysis of the Bhāgavata Purāṇa includes endnotes that explain unfamiliar concepts and essays that elucidate the rich debates (...) found in the Sanskrit commentaries. The book makes a central Hindu masterpiece more accessible to English-speaking audiences and more meaningful to scholars of Indian literature, philosophy, and religion. (shrink)

Contributed research papers on various aspects of Hindu philosophy, Sanskrit grammar and poetics.

The Philosophy of Poetry brings together philosophers of art, language, and mind to expose and address the array of problems poetry raises for philosophy. This volume offers a powerful demonstration of how central poetry should be to philosophy, and sets out the various puzzles and paradoxes that future work in the field will have to address.

We have become estranged from the cosmic movements, according to Bataille. We are confined by the error linked to the representation of ‘the stationary earth’. We have negated the immersive immanence of the whole and made nature into a fixed world of tools and things. How then do we recognise ourselves as part of the ‘rapture of the heavens’? Bataille urges us to consider life as a solar phenomenon, the free play of solar energy on the earth. This paper argues (...) how Bataille’s cosmic vision anticipates both planetary and ecological thinking. This entails a base materialism of difference based on a radical Nietzschean and Heraclitean theory of becoming and flux. This thought is developed along Bataillean concepts such as the movement of the whole, the labyrinthine, and compound beings, ipseity, as well as the concept of a communifying movement. This materialism paired with Vladimir Vernadsky’s biosphere lays the foundation for the laws of the general economy, which also constitutes an economy inclusive of a general ecology: a tragic vision of Gaia and Dionysos. Finally, poetry is considered, as a way we might reconnect with the universe and stimulate ecological imagination. (shrink)

It is only relatively recently that analytical philosophers have given special focus to poetry as a topic in its own right in aesthetics or as a semi-autonomous branch of the philosophy of literature. A new field is taking shape: the so-called Philosophy of Poetry. But do analytical philosophers have anything new to say on the topic? What kinds of issues or problems attract their attention? Rather than simply surveying the field, the paper looks at some emerging concerns- about (...) form & content, experience, interpretation, expression, and poetic truth-and suggests that poetry poses some quite serious challenges to standard conceptions of meaning and truth. On the current showing it seems likely that studying the practices and norms of poetry will force a reconceiving of the powers or limits of language that could itself promote fresh understanding in core areas of philosophy. So bringing analytical philosophy to poetry can yield benefits in both directions, offering insights as well as challenges. (shrink)

I. Language is a witness of change in the field of the knowledge. In its system of signs, also the “traces” that show “the movement of the signs” are conserved, meaning those dynamic signs that indicate problems and solutions of problems, and sometimes even the invention of new problems, which modify the paradigms of knowledge. In the case of the creativity problem, if we take language as the witness, we see the following: 1. In the first half of the 20 (...) th century, the term used to denote the innovatory phenomena is that of creation. This notion refers, most often, to the artistic works, but is step by step extended also to denote the great scientific discoveries or technical inventions and, more seldom, other types of activities which bear the mark of novelty or originality, generally with an “out of the ordinary character” . The word has an obvious value content and exactly by its evaluative significance, it is disseminated in the current cultural vocabulary. It can have more general meanings, due to the fact that it keeps, in its semantic memory, the archaic layers of the myths of creation, but also because it can be resignified metaphysically, as a cosmogony principle or one of the evolution of life . But its established place in the philosophical discourse is found mostly in the area of the philosophy of culture or in that of the philosophy of value and especially in the philosophy of art. From here, it is overtaken by the art sciences, as the psychology of art, the history of art or the sociology of art. The term creation means both the works, the products of the creation process, and the processes through which these works are accomplished. In the analysis of the creation process, the significance of the term become more psychological, and the rationalization to which it is subjected to seems to furthen it both from its religious origin as well as from the Romantic mythology of the genius. However, if we regard more attentively, we see that terms as “inspiration”, “incubation” or “invention”, from the so called explanations of the creation process, preserve the magic obscurity of the enigma. Generally, the idea of creation, even totally transferred to the human sphere, secularized, rationalized and psychologized, still keeps something from the history of a notion charged with “mystery”, “heroic admiration” and a sort of “sacred terror”, which can be understood by considering the religious origin of the idea of creation; because about creation, in the human sphere, it has been commenced to be talked at first by analogy to the divine creation, in the discourse about art of the Renaissance, and the semantic evolution of the notion has not, for a long time, furthen itself from it spiritual root. Creation – even when it denotes the human products- still remains a metaphor- which transports to something difficult to comprehend, rather than facilitates the understanding of what it denotes. 2. After the middle of the 20 th century, a new term, creativity, makes its way in the discourse, replacing the word creation. It comes from the vocabulary of the humanistic sciences, firstly from psychology and afterward by the other sciences which adopted it. It becomes, in a short period, a frequent term of the cultural world and of public communication. The discourse in which this neologism appears has completely changed suppositions: a). Firstly, it is a discourse of scientific nature ; b). Secondly, its notions are descriptive: creativity denotes the capacity to produce innovative works in any domain and is seen as a generally human dimension ; the creative products are described following criteria such as novelty, originality, relevance, adequacy or utility, attributes that are intelligible but also rationally computable. c). Thirdly, the suppositions of the discourse on creativity contains the idea that the creative phenomena can be understood rationally, described, analyzed, explained and measured, and their knowledge can be applied in the so called techniques to stimulate creativity or transferred in the methods of learning and education. The notion of creativity indicates thus a discourse articulated on a type of representations which we could call positive, to mark this way the change in knowledge on which they are based. 3. In the last decades of the 20 th century, in the vocabulary of the sciences on creativity appears a new notion: creatology . According to the significance that results from the terms which compose this linguistic invention, creatology can denote, in a general sense, the study or the theory of creation or creativity, accomplished in a discipline or other from the sciences which assumed it as a research problem. Still, the discussions on creatology have requested more - the constituting of an autonomous discipline of creativity. These three notions – creation, creativity and creatology - have an obvious “family resemblance”, although, as we have seen, the semantic differences are significant. Through these notions we can reconstruct not only the history of a problem which appeared as important to the knowledge of the 20 th century, but perhaps even the history of some ideas which have accompanied the understanding of the cultural history or, wider, the history of the mentalities of the 20 th century. It is exactly why the emergence of creatology can be researched from the perspective of cultural analysis. (shrink)

The poem elucidates the universal Self, indestructible, immortal and free from the duality of bondage and attachment, knowledge and ignorance. Readers of philosophy and poetry will appreciate the deep, meditative exploration in this 9th-century Advaita Vedanta text. The comprehensive Sanskrit-English word-for-word translation is an invaluable resource for scholars and students of Sanskrit literature.

This new translation of The Upanishads is at once delightfully simple and rigorously learned, providing today's readers with an accurate, accessible rendering of the core work of ancient Indian philosophy. The Upanishads are often considered the most important literature from ancient India. Yet many academic translators fail to capture the work's philosophical and spiritual subtlety, while others convey its poetry at the cost of literal meaning. This new translation by Vernon Katz and Thomas Egenes fills the need for an (...) Upanishads that is clear, simple, and insightful - yet remains faithful to the original Sanskrit. As Western Sanskrit scholars who have spent their lives immersed in meditative practice, Katz and Egenes offer a unique perspective in penetrating the depths of Eastern wisdom and expressing these insights in modern yet poetic language. Their historical introduction is suited to newcomers and experienced readers alike, providing the perfect entry to this unparalleled work. (shrink)

Introducing the topics, themes and arguments of the most influential Hindu and Buddhist Indian philosophers, An Introduction to Indian Philosophy leads the reader through the main schools of Indian thought from the origins of Buddhism to the Saiva Philosophies of Kashmir. By covering Buddhist philosophies before the Brahmanical schools, this engaging introduction shows how philosophers from the Brahmanical schools-including Samkhya, Yoga, Nyaya, Vaisheshika, and Mimamsa, as well as Vedanta-were to some extent responding to Buddhist viewpoints. Together with clear translations (...) of primary texts, this fully-updated edition features:- A glossary of Sanskrit terms - A guide to pronunciation - Chronological list of philosophers & worksWith study tools and constant reference to original texts, An Introduction to Indian Philosophy provides students with deeper understanding of the foundations of Indian philosophy. (shrink)

The Philosophy of Poetry. “Of” intimates something more than copular coexistence. This could be the systematic and propositional attempt to define what poetry is, subjecting poetry to philosophical investigation with its distinctive questions and processes of inquiry. As a literary critic, however, I heard the title The Philosophy of Poetry as an assertion of poetry’s discursive, cognitive value: it suggests there are varieties of philosophic thought, of which one might be the poetic organization of understanding. (...) Between these inversions there are less exclusive ways of imagining the relationship. The philosophy of poetry could be the attitude it assumes toward the world—its disinterested... (shrink)

The Lonely Labyrinth winds the suggestion that "Kierkegaard was a profoundly sick man, and that the character of his sickness established a privileged perspective for the understanding of his work." In the light of this thesis, his "works turn out to be, not abstruse theologico-philosophical treatises or mysterious aesthetic essays, but successive moves in a complicated dialectic of therapy." They are "efforts... to find not truth but health." Part One of Thompson's book sketches the biographical, psychological, philosophical, and literary background (...) of Kierkegaard's authorship. Part Two--the major division of the book--offers readings of the pseudonymous works from Either/or through Concluding Unscientific Postscript. (shrink)

The book explores three specific areas: the practice of writing with respect to orality; the interpretive modes of poetic and philosophical discourse as self ...

Now available in paperback, ____The Quarrel Between Philosophy__ ____and Poetry__ focuses on the theoretical and practical suppositions of the long-standing conflict between philosophy and poetry. Stanley Rosen--one of the leading Plato scholars of our day--examines philosophical activity, questioning whether technical philosophy is a species of poetry, a political program, an interpretation of human existence according to the ideas of 19th and 20th-century thinkers, or a contemplation of beings and Being.

This article will introduce readers to current debates in the philosophy of poetry. This includes discussion of the need for a philosophy of poetry as distinct from a philosophy of literature, the (in)compatibility of poetry and philosophy, poetic meaning and interpretation, and poetry in relation to affect, emotion and expressiveness, which opens up discussion of wider forms of poetry from spoken word to signlanguage poetry. The article ends with suggestions for future directions of research (...) in the philosophy of poetry. I argue that as the philosophy of poetry is gaining interest, the previous debates that presuppose an understanding of poetry as taking form on the page and as having fixed aboutness ought to be abandoned in favour of an understanding of a poem in the affective space, with issues of reception, interpretation, distribution, and performance in play. (shrink)

The postmodern human lives in a quest condition. Poetry and philosophy, as forms that integrate, shape, and deposit the sacred, are part of the instruments used by postmoderns to fulfill their need for communication and personal accomplishment. Although they use different means to construe reality, poetry and philosophy may serve a common end goal – to disclose philosophy as the art of living. As communication practice, philosophy and poetry are based on an expanded rationality involving the rational (...) extended to the sphere of the significance and hidden sense of existence. In other words, expanded rationality presupposes cultivating a symbolic consciousness that is adequate to the daily reality of human needs. To showcase the intimate relationship between philosophical reflection and poetic creation, I provide a short presentation of the poetry belonging to a Romanian poet, Rodica Dragomir. Her poems are an example of the quest for authenticity by means of the metaphysical stirring of existence. (shrink)

_Philosophy and Poetry_ is the 33rd volume in the _Midwest Studies in Philosophy_ series. It begins with contributions in verse from two world class poets, JohnAshbery and Stephen Dunn, and an article by Dunn on the creative processthat issued in his poem. The volume features new work from an internationalcollection of philosophers exploring central philosophical issues pertinent topoetry as well as the connections between the two domains.

This book explores the pervasiveness of poetry's impact on philosophy and, conversely, how philosophy has sometimes resisted or denied poetry's influence.

Hopkins' Idealism provides a thorough re-examination of the nineteenth-century poet Gerard Manley Hopkins (1844-1889), whose early writings on philosophy have to date received little critical attention. It is the first full-length study of Hopkins' largely unpublished Oxford undergraduate essays and notes on philosophy and mechanics. The volume also offers radical new readings of some of Hopkins' best-known poems.

This is a partial translation by Wade Baskin of the original French work Ecrits et Paroles (a 3 volume set, 665 pages) published between 1957 and 1959 by Henri Bergson. It includes the translation from Bergson’s introduction to a French ed. of De rerum natura, by Lucretius published in 1884 under the title: Extraits de Lucre`ce.

The editor has taken a juvenile work of Bergson’s, a rather pedestrian introduction to an edition of Lucretius’s De rerum natura, made some excerpts from it whose total length in ordinary type would be about 25 pages, and then renamed it. The book contains a brief discussion of the text of the poem and the sources of Lucretius’s philosophy. There is not a word in it about the philosophy of poetry.

Scholar, poet, political and revolutionary leader, philosopher and social theorist, yogi and spiritual leader, Sri Aurobindo (1872-1950) is one of the most important figures of twentieth-century India. This is a selection from his writings, arranged in six sections according to Sri Aurobindo's main areas of interest: politics, the Indian tradition, social and political theory, philosophy, yoga, and poetry and poetics.