Love in the mystical experience as play in the experience of the work of art based on Paul Ricoeur's appropriation theory

Philosophical hermeneutics has tried to change the systematic problem of aesthetics to the question of artistic experience and to avoid reduction to the aesthetics of the subject. the metaphor of the play a prominent role In this effort. Unlike Gadamer, with the theory of appropriation, Ricoeur places all the possibilities of hermeneutics in the path of interpretation and self-understanding. Understanding occurs from the tension between distancing and self-understanding In other words, the interpretation of the text occurs in the self-interpretation of a subject who understands himself and his possibilities better after the interpretation. The purpose of appropriation is to give new capacities in a new scope for self-knowledge. Using the metaphor of the play, in addition to the transformation of the subject, he also prioritizes the transformation of reality and the author over the transformation of the subject. The metaphor of love also has a similar function in the transformation of the wayfarer and his world in Attar's mystical experience to approach the truth. Can the metaphor of love be equivalent to the metaphor of play (festival, celebration, ritual, mourning, dance, etc.)? Since the narrative of the experience of the love event has a much longer life than the event of the play and is more solid and concrete to understand the interpretation, can mystical love be considered equivalent to the hermeneutic play in the experience of the work of art? Comparing the two metaphors of love and play opens a way to better understand both in interpretation.