This study conducts a multidimensional comparative analysis of Plato’s Symposium and Zhuangzi’s Zhuangzi, focusing on their aesthetic philosophies and cultural implications. Through textual exegesis, historical contextualization, and theoretical frameworks rooted in Platonic idealism and Daoist naturalism, the research systematically examines three core questions: (1) Divergence and Convergence in Aesthetic Ideals: While Plato’s theory of eternal "Forms" prioritizes rational transcendence and hierarchical beauty, Zhuangzi’s "Dao" emphasizes intuitive harmony with nature and inner tranquility. Despite differing epistemologies, both philosophies converge on the pursuit of spiritual liberation through aesthetic contemplation. (2) Philosophical Influence on Artistic Expression: The dialogic structure of Symposium shaped classical Greek art’s emphasis on proportional harmony and rational ideals, as seen in sculpture and drama. Conversely, Zhuangzi’s parables and concepts like Xiaoyao You (Free Wandering) inspired Chinese literati arts—landscape painting, calligraphy, and poetry—to prioritize symbolic resonance and natural spontaneity. (3) Civilizational Mutual Learning in Practice: Applying the theory of cultural mutual learning, this study proposes pathways for integrating Western rational aesthetics with Eastern intuitive traditions, such as cross-cultural symposia, translational projects, and interdisciplinary dialogues. By identifying shared ethical aspirations (e.g., harmony and self-cultivation) while respecting cultural particularities, the findings advocate for a pluralistic global aesthetic discourse that bridges civilizational divides. This research not only enriches comparative literary studies but also offers actionable insights for fostering intercultural empathy and sustaining cultural diversity in a globalized world.

Abstract

W. B. Yeats’s and Sri Aurobindo’s visionary experiments transcended their creativity, inspired unquenchable mystic knowledge of spiritual world, with distinctive Celtic religious and personal consciousness that appeared immensely mystic consciousness. Yeats undoubtedly developed personal consciousness as indeterminate mythic consciousness. Yeats’s mythic muse is driven by primordial instincts, primitive aspirations for universal truths of myths that undoubtedly mythopoeia in modern mythology. Yeats mythic consciousness is characteristically transcended his self and soul on his own terms of the system. Yeats’s mythic muse is inspired from deep conscious, passionate, earthly, and surrealistic. Yeats’s creative consciousness appeared deeply apologetic and immense grief. Yeats has seen the world as disintegrating and crumbling, where he strived to rebuild world by his inner self and unity of being. Sri Aurobindo’s creative journey and yogic Sadhana are complimentary to spiritual thirst

and spiritual recurrent archetypes in Indian Vedic tradition. Sri Aurobindo raised the spiritual base for ascetic psyche and ascent and descent philosophy. Yeats’s search for unity of being in mythical poetry forms the world view while Sri Aurobindo’s spiritual paradigms behind Hindu myths provide wider canvas for mythic poetry. Yeats’s strenuous efforts appeared revival of racial imagination and conscience shaping. Yeats’s mythic and abstract consciousness can be situated on mythic truth, wisdom and wisdom of God. Yeats earnestly wished to embed the Homeric truth in Irish conscience. Sri Aurobindo’s mythical paradigms have semiotic and empirical significance and substance of archetypes. The spirit of the myth addresses the metaphorical and metaphysical significations. The mythical truth appeared spiritualized through glorious hue to the myths and legends. The spirit of the myth that addresses the human mind based on the similarity of the spirit empirically that conveys the mythic truth. The sage poet’s mythic truth defines the glorious national character of the visionary, religious and spiritual truth until linked with Divine. Yeats has scaled in his superhuman efforts throughout his life to create myths and mythopoeia from abstract to concrete. The spiritual illumination rendered archetypes yielded to him through methodological visions and yogic achievements. The visions and imageries revealed consciousness awakening as progress appeared concrete in yogic achievements and mental planes that undoubtedly provided him patterns for mystical poetry and visionary worlds. The overhead consciousness is manifested to lift the spirit to Truth Consciousness in the form of Savitri. The spiritual development is empirical, holistic and awakening of distant knowledge that is All-pervading. As a sage poet his poetic aesthetic deals with inspired Mantra poetry that bears the visionary planes and images that are charged with significance. His vision behind the awakening is unitary, esoteric, that recognizes the Divine webs and Divine consciousness in illuminating and transforming selves.

Key Words : Discursive and Harmonious myths and renaissance

This paper delves into the distinct yet interconnected themes of adventure and spirituality in travel narratives. It examines and explores how cultural, historical, and religious contexts influence the portrayal of travel experiences from the west and the east by examining Peter Matthiessen's The Snow Leopard and Karna Shakya's Dolpo. The purpose of this study is to compare and contrast the narrative styles, thematic elements, and cultural reflections in the west and the east. The methodology involves a qualitative analysis of the selected texts, focusing on recurring themes, narrative techniques, and cultural references. The study employs a comparative approach to draw meaningful conclusions about the similarities and differences between these two travel narratives. For this, I utilize Joseph Campbell's concept of the hero's journey to examine the protagonists' quests for self-discovery and transformation; Mircea Eliade's theory of the sacred and the profane to explore the spiritual dimensions of the journeys; and Edward Said's concept of Orientalism to analyze the portrayal and perception of Western and Eastern perspectives on travel and spirituality for the textual analysis and interpretation. Both narratives, however, share a common thread of self-discovery and personal growth through travel. This comparative analysis offers unique insights into their respective cultures and worldviews. The study contributes to a deeper understanding of how travel writing can serve as a bridge between different cultures, fostering greater appreciation and empathy among readers.

This study compares the themes of death and rebirth in Jibanananda Das’s Rupasi Bangla (1957) and Louise Glück’s The Wild Iris (1992), focusing on their use of nature as both a metaphor and medium for existential reflection. Das, deeply influenced by Bengali spiritual traditions, presents death as a peaceful return to the cosmic cycles of nature and rebirth as a continuation of cultural and collective identity. His portrayal of Bengal’s rural landscapes encapsulates a harmonious relationship between humanity and the eternal rhythms of nature. In contrast, Glück, drawing on Western existentialism, explores mortality and renewal through the transient cycles of a garden, emphasizing individual resilience and transformation.

While Das’s work reflects communal and cosmic perspectives rooted in Hindu-Buddhist philosophies, Glück’s poetry centers on personal introspection and the solitary confrontation with mortality. Despite their cultural and philosophical differences, both poets use nature to reveal universal truths about life’s cyclicality. This research highlights the shared human experience of death and renewal, demonstrating how literature transcends cultural boundaries to engage with existential themes of continuity, resilience, and hope.