José Ortega y Gasset Quotes

I am I and my circumstance, and if I don't save it I don't save myself.

Life is fired at us point blank.

Nationalism is always an effort in a direction opposite to that of the principle which creates nations. The former is exclusive in tendency, the latter inclusive. In periods of consolidation, nationalism has a positive value, and is a lofty standard. But in Europe everything is more than consolidated, and nationalism is nothing but a mania, a pretext to escape from the necessity of inventing something new, some great enterprise.

Scientific truth is characterized by its exactness and the certainty of its predictions. But these admirable qualities are contrived by science at the cost of remaining on a plane of secondary problems. leaving intact the ultimate and decisive questions. … Yet science is but a small part of the human mind and organism. Where it stops, man does not stop.

Life cannot wait until the sciences may have explained the universe scientifically. We cannot put off living until we are ready. The most salient characteristic of life is its coerciveness: it is always urgent, "here and now" without any possible postponement. Life is fired at us point-blank. And culture, which is but its interpretation, cannot wait any more than can life itself.

[T]he mass-man sees in the State an anonymous power, and feeling himself, like it, anonymous, he believes that the State is something of his own. Suppose that in the public life of a country some difficulty, conflict, or problem presents itself, the mass-man will tend to demand that the State intervene immediately and undertake a solution directly with its immense and unassailable resources. This is the gravest danger that to-day threatens civilisation: State intervention; the absorption of all spontaneous social effort by the State.

This grave dissociation of past and present is the generic fact of our time and the cause of the suspicion, more or less vague, which gives rise to the confusion characteristic of our present-day existence. We feel that we actual men have suddenly been left alone on the earth; that the dead did not die in appearance only but effectively; that they can no longer help us. Any remains of the traditional spirit have evaporated. Models, norms, standards are no use to us. We have to solve our problems without any active collaboration of the past, in full actuality, be they problems of art, science, or politics. The European stands alone, without any living ghosts by his side; like Peter Schlehmil he has lost his shadow. This is what always happens when midday comes.

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.

The demagogues, impresarios of alteracion, who have already caused the death of several civilizations, harass men so that they shall not reflect, see to it that they are kept herded together in crowds so that they cannot reconstruct their individuality in the one place where it can be reconstructed, which is in solitude.

Diogenes, in his mud-covered sandals, tramps over the carpets of Aristippus. The cynic pullulated at every corner, and in the highest places. This cynic did nothing but saboter the civilisation of the time. He was the nihilist of Hellenism. He created nothing, he made nothing. His role was to undo — or rather to attempt to undo, for he did not succeed in his purpose. The cynic, a parasite of civilisation, lives by denying it, for the very reason that he is convinced that it will not fail. What would become of the cynic among a savage people where everyone, naturally and quite seriously, fulfils what the cynic farcically considers to be his personal role?

Similarly a work of art vanishes from sight for a beholder who seeks in it nothing but the moving fate of John and Mary or Tristan and Isolde and adjusts his vision to this. Tristan's sorrows are sorrows and can evoke compassion only in so far as they are taken as real. But an object of art is artistic only in so far as it is not real. In order to enjoy Titian's portrait of Charles the Fifth on horseback we must forget that this is Charles the Fifth in person and see instead a portrait — that is, an image, a fiction. The portrayed person and his portrait are two entirely different things; we are interested in either one or the other. In the first case we "live" with Charles the Fifth, in the second we look at an object of art.

Hatred is a feeling which leads to the extinction of values.

<small>Original: "La vida no puede esperar a que las ciencias expliquen científicamente el Universo. No se puede vivir ad kalendas graecas. El atributo más esencial de la existencia es su perentoriedad: la vida es siempre urgente. Se vive aquí y ahora sin posible demora ni traspaso. La vida nos es disparada a quemarropa. Ya la cultura, que no es sino su interpretación, no puede tampoco esperar."</small>

Yo soy yo y mi circumstancia, y si no la salvo a ella no me salvo yo.

I have always thought that clarity is a form of courtesy that the philosopher owes; moreover, this discipline of ours considers it more truly a matter of honor today than ever before to be open to all minds … This is different from the individual sciences which increasingly [interpose] between the treasure of their discoveries and the curiosity of the profane the tremendous dragon of their closed terminology.