In “The Ontology of the Work of Art and its Hermeneutic Significance” in his Truth and Method (1960), Hans Georg Gadamer discusses play in the context of philosophy. His aim is to change the perception of this concept, freeing it from the subjective meaning purported by Kant and Schiller, which became too central in philosophy. Play means neither the orientation/state of mind of the author, nor of those enjoying neither the work of art, nor the freedom of subjectivity engaged in play, but “the mode of being of the work of art itself” (Gadamer Ontology, 101).
329 – There is nothing small in God’s eyes; let there be nothing small in thine. He bestows as much labour of divine energy on the formation of a shell as on the building of an empire. For thyself it is greater to be a good shoemaker than a luxurious and incompetent king.
330 – Imperfect capacity and effect in the work that is meant for thee is better than an artificial competency and a borrowed perfection.
331 − Not result is the purpose of action, but God’s eternal delight in becoming, seeing and doing.]
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