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Notes
1. Much of the material cited and referenced in this essay has not been translated. I rely on the latest edition of his collected works for these sources. If possible, I also cite alternate editions that are more readily obtainable. When possible, I cite from and/or refer to available English translations or reference these alongside the Spanish edition. Occasionally, when I deem a certain Orteguian subtlety is compromised, I provide my own translation even if there is already an English version. The referencing here is also more extensive that would be expected for two reasons. One, to underscore how Ortega’s thought on the matter was integral to his philosophical views throughout his life. Two, to provide alternative sources that may be less familiar to readers. These have been chosen as emblematic of his thought.
2. As the translator explains, ‘Halcyonism’ derives from ‘halcyon,’ a mythical bird that supposedly calmed the seas during the winter solstice, when it hatched its young and set them afloat. The expression ‘halcyon days,’ much loved by Ortega, means then ‘days of tranquility.’ It is also connected to ataraxia, tranquility or peace of mind for Democritus, the Greek Epicureans, Stoics, and Skeptics (Rodriguez Citation1995, 159 fn. 3). This can also be connected to Eastern quietist views that espouse desirelessness.
3. Contrary to Heidegger’s negative stance (Citation1977), Ortega has a generally positive view of technology. Anything but naïve, he unwaveringly admonishes those who would be blinded by it. Ortega says that it only takes for us to change our conception of the good life to have traditional, established technology come crashing down (Citation2006a, 565).
4. Huizinga (Citation1955) makes of play the original engine for civilization, spurring into motion the arts, sciences, and philosophy. For his seminal set of characteristics unique to play, see 8–13.
5. The ontological status of performance in the arts is beyond the scope of this inquiry. There are many parallels between artistic ones and performances in sport or martial arts. Historical and practice-specific elements entail that these various performances be interpreted differently. This results in different metaphysical status for the given actions involved as accorded by different interpretive frameworks (Ilundáin-Agurruza Citation2000).
6. For a phenomenological discussion of sweet tension, see McLaughlin and Torres (Citation2011).
7. A recent translation of the same passage renders it thus: “In order to achieve it [form], the individual must first go off by himself and concentrate on his own development: he has to go into training and give up many things, in the determination to surpass himself, to be more alert, tense, supple. There is nothing tha tis indifferent to him, for every little thing either is favorable to his form, or else pulls it down, and with this in mind he goes out for one thing and avoids the other. Briefly, to be in form means never indulging in any dissipation whatever.” (Ortega Citation2009, 11) In this instance I opt for my rendering because it captures underlying Orteguian themes that this translation, while “smoother”, leaves out.
8. Verily, the truly confident person has no need to be arrogant, whereas conceit, haughtiness, and condescendence mark a lack of confidence that often expresses itself in abusive, demeaning, and bullying behavior.
9. I argue that Heidegger’s and Sartre’s respective views on death handle the anticipation of death and our attitude toward it, whereas with Nietzsche, the encierro becomes transformative, the ordinary becomes extraordinary, and with Ortega, the very risking of life turns out to be the strongest affirmation of its importance and enjoyment.
10. For a discussion of the holistic views of Ortega, Dewey, and other intellectuals in the context of education, sport, and movement, see Ilundáin-Agurruza (Citation2014).
11. Consummate sportspeople, meditators, and children engrossed in a game are exceptions to this when they experience those moments that some describe as flow, mushin, or simply being lost in play. Subsequent essays discuss this.
12. See Ilundáin-Agurruza (Citation2013b) for a critique of this that seeks to expand the scope beyond pathology and to the exceptional.
13. Nowadays, neurasthenia is discredited. However, there is mounting evidence for physical causation for similar illnesses regarding phantom pains that were written off as ‘imaginary’ by the medical establishment, and which corroborates Ortega’s views.
14. See Ortega (Citation2004i) for a discussion of the relevance of analogies and images in philosophy and science.
15. Ortega writes, ‘we suffer from a ‘pesadumbre,’ a sadness; pesadumbre in Spanish brings the connotation of ‘pesar’ to weigh.
16. Ortega wrote a phenomenological essay on consciousness, concepts, and reality, where he discusses the reality of centaurs as objects of consciousness, in contrast to roses, and other elements. It is available in English as ‘Consciousness, the Object, and the Three Distances’ (Ortega Citation1975, 116–124).