Style of Thought and Style of Expression in Ortega's Amor en Stendhal

V IS a well-known fact among Ortega holars that at the heart of this philosopher's thinking there was a conflict between the persistent will to create a and the quasi-literary devotion to his peculiarly Spanish circumstance. Metaphysician in the classical sense on the one hand, literary artist and social reformer on the other, Ortega, it seems, never tired of striving to integrate the life of contemplation with the life of action. Thus one of his students, Jose' Gaos, emphasizes the existential character of the master's writings, his distinctively spontaneous, even voluptuous encounter with ideas and reality, while a second disciple, Julian Marias, prefers to focus attention on the more rational and systematic dimension.' And recently, a third writer, Ciriaco Mor6n Arroyo, has painstakingly documented the implicit presence of system throughout the long and arduous evolution of Ortega's philosophy.2 These scholars are formidable thinkers in their own right and their contributions to our understanding of Ortega's complex thought are invaluable. My own effort in the present paper must of necessity be considerably more modest. I too am interested in the fundamental tension between

Art · Expression (computer science) · Literature · Programming language · Style (visual arts) · Computer Science · Philosophy · Spanish Philosophy and Literature

• Ortega sobre el amor. Un diálogo con Victoria Ocampo

  Open Access•José Javier Díaz Freire•Revista de Estudios Sociales•2022

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