When Lady Philosophy appears to Boethius, he has lost his mind to the passions in the midst of his suffering (“wandered away from yourself” pg. 16). Lady Philosophy stands over him. “Understand” is the Old English word used to translate intellectus but I like the association here. The only way to “become aware” of Lady Philosophy is with this proper stance of humility beneath her, looking up. Her “awe-inspiring appearance” echos Plato – “philosophy begins in wonder” (Plato, Theaetetus 155c-d). “Her eyes burning and keen beyond the usual power of men” indicates that the rational mind is that which is able to illumine and perceive the hidden essence of things, whereas the “usual power of men” is limited and generally content with the appearances of things. “She was so full of years that I could hardly think of her as of my own generation, and yet she possessed a vivid colour and undiminished vigor” points towards the notion of there being a “Perennial Philosophy”. Lady Philosophy embodies all that is best and timeless of human wisdom, and yet remains fresh and alive in every contemporary situation. As Copleston states at the beginning of his History of Philosophy series, “Philosophy, which is the work of the human spirit and not the revelation of God, grows and develops; fresh vistas may be opened up by new lines of approach or application to new problems, newly discovered facts, fresh situations, etc” (Copleston, History of Philosophy Vol 1pg 4). “It was difficult to be sure of her height, for sometimes she was of average human size, while at other times she seemed to touch the very sky…” Lady Philosophy, as she is “the work of the human spirit” will always be on some level familiar to us and reflective of us, however, human reason in the variety of Philosophers with their unique insights and gifts will always transcend any individual as the various insights are shared and received and as the mind approaches the intellectual and eternal realms. “Her clothes were made of imperishable material” indicates that once truth has been apprehended, it cannot be destroyed. However, this doesn’t mean that it is always appreciated or recollected (Boethius is himself an example of someone in whom Lady Philosophy had become obscured due to neglect). The embroidered “Pi” and “Theta” shows the value of both practical and contemplative Philosophy, but again the relation of one beneath the other must be noted. Practical philosophy must serve to raise our intellects towards that which transcends the merely physical and practical. “Her dress had been torn by the hands of marauders who had each carried off such pieces as he could get.” This is where I enter into Boethius’ work. There are those who grab at fragments of philosophy without comprehending or appreciating the whole. The danger, we see later (pgs 8, 63), is especially acute if such people think and act as though they have the whole of Philosophy on the basis of their little fragmentary wisdom. The books indicate the way we are able to engage the wisdom of the past. The sceptre indicates the authority of Wisdom over human life and affairs.
“Dostoevsky not only preached, but, to a certain degree also demonstrated in his own activity this reunification of concerns common to humanity–at least of the highest among these concerns–in one Christian idea. Being a religious person, he was at the same time a free thinker and a powerful artist. These three aspects, these three higher concerns were not differentiated in him and did not exclude one another, but entered indivisibly into all his activity. In his convictions he never separated truth from good and beauty; in his artistic creativity he never placed beauty apart from the good and the true. And he was right, because these three live only in their unity. The good, taken separately from truth and beauty, is only an indistinct feeling, a powerless upwelling; truth taken abstractly is an empty word; and beauty without truth and the good is an idol. For Dostoevsky, these were three inseparable forms of one absolute Idea. The infinity of the human soul–having been revealed in Christ and capable of fitting into itself all the boundlessness of divinity–is at one and the same time both the greatest good, the highest truth, and the most perfect beauty. Truth is good, perceived by the human mind; beauty is the same good and the same truth, corporeally embodied in solid living form. And its full embodiment–the end, the goal, and the perfection–already exists in everything, and this is why Dostoevsky said that beauty will save the world” (Vladimir Soloviev, The Heart of Reality, trans V. Wozniuk, p. 16).
From the very beginning, Soloviev wanted to complete his theosophy with a universal aesthetics. He prefaced his essay on natural aesthetics with Dostoyevsky’s dictum that “beauty will save the world.” The Critique of Abstract Principles had proclaimed that ‘the realization of pan-unity in its external actuality is absolute beauty’, so it is as little something ‘given’ as is ‘pan-unity’ itself; it is a task assigned to humanity, and human art is a vehicle of its realisation. Soloviev promises to develop, at the end of his work, ‘the common axioms and rules of this great and mysterious art that brings all beings in the form of beauty’. According to another declaration, the sphere of aesthetic realisation should be divided into three areas: the material (technology), the formal (the ‘fine arts’) and the absolute (mysticism). For Soloviev, however, mysticism is not only passive devotion to the divine or direct contact with it; it also is the active art of bringing the divine from Heaven to earth, and, in this sense, ‘theurgy’—it is concerned, that is, with the realisations of the ideal: this is why Soloviev becomes a bitter opponent of classical idealist aesthetics, according to which beauty is allowed to be ‘only’ appearance, not reality, only an illusory reflection, not even a true promise or foretaste. ‘An infinity that existed solely for an instant would be an unbearable contradiction for the spirit; a bliss existing only in the past would be a torture for the will.’ Continue reading “Von Balthasar on Soloviev: The meaning of Dostoevsky’s “beauty will save the world””