Literature: The Use Of Emotion In On Sublimity And Republic

All of these different categories previously mentioned, evoke specific emotions. Compared to the Artists Ney (1994), that states “The history of the sublime from antiquity shows, if nothing else, that, although it refers to an immutable capacity of human psychology for astonishment, both the

However, although this provides us with a way of categorising pleasure, it does not bring us any closer to a theory of happiness, as there is no suggestion that it too has three different forms. From this I conclude that Plato considers the notion of pleasure to be insufficient as an explanation of happiness, and that these instead represent two different, but interrelated, concepts.

Analyzing different mediums can enhance an individual’s overall appreciation and understanding of a particular idea or story. While analysis of a painting can reveal the mood of the artwork, an analysis of a poem can reveal the author’s tone. Much more then that, analysis provides an opportunity to explore each work in an attempt to understand human nature through each author’s perspective. While exploring the painting “Ulysses and the Sirens” by J.W. Waterhouse and the poem “The siren song” by Margaret Atwood, a universal truth presents itself. While the painting focuses on the thematic idea of Odysseus being stubborn while his men care for his safety to get home, the poem holds a different view. In contrast, the thematic statement from the poem discusses the idea that the Siren hates singing and being in a bird suit, but is asking for help but it’s still tempting to hear the song. Although differing in point of view, both the painting and the poem explore an aspect of human nature that are relevant to society today. There are two different authors for the painting and the poem. However, the two are different when compared to each

In the excerpt of Cutting for Stone, Verghese recurrently variates the mood throughout his text. Through vivid imagery, Verghese illustrates emotion visually on the faces, as well as through actions of the characters. In addition to imagery, emotions are aroused through onomatopoeic words and aroma. The reader is then struck with a macabre backstory arousing sorrowful emotions within the reader. Verghese uses sensory details, along with backstory to efficaciously expose the reader to the emotional duality of happiness and sadness.

Appeal to emotions, individualism, and intellectual achievement were three important elements of Romanticism. This essay will explore the degree to which Cyrano de Bergerac exemplifies these elements of Romanticism.

Plato is often criticized for preaching the gospel of me first. The claim is that his understanding of love is essentially egoistic, and this is seen as troublesome for the obvious ethical reasons. But there may be an even more troubling issue with Plato's understanding of love. In this paper I will attempt to argue that for Plato, love is in a sense impossible; that it can only ever be a desire for something out of one's grasp. The stakes are high but perhaps there is a way to understand this problem in a way that seems a little less damning. To do this I will analyze arguments from the Lysis and the Symposium, first questioning even the possibility of love and then attempt to show that love is in fact possible, all though in weaker

In the Republic, Plato proposes the complete censorship of imitative poetry from his ideal city, arguing that it corrupts individuals’ souls and therefore has a negative effect on society, resulting in injustice within the city. Although seemingly trivial at first, when considered within its proper context, the censorship of imitative poetry from the city would result in severe consequences. Throughout this essay I will discuss the political and psychological implications of its censorship, and will also refute Plato’s argument, showing how it lacks soundness: notably, through a criticism of his epistemology. Regarding the political implications of the censorship of poetry, I will draw from the ideas of Karl Popper, who argued Plato to be one of the most influential philosophers on the emergence of totalitarian regimes in the 20th century, laying the foundations for their very existence (K. Popper, 1945). I will also show how poets themselves have an important political role within cities, in that they enable the general population to hold the state accountable for their actions. To discuss the psychological implications of poetry’s censorship, I will compare the contrasting views of Plato and Aristotle regarding its effect on the soul, whereby Aristotle claims that poetry actually has beneficial, cathartic effects. Following these criticisms, it will become apparent that Plato’s proposed ban of imitative poetry is indefensible.

In Plato’s work Symposium, Phaedrus, Pausania, Eryximachus, Aristophane and Agathon, each of them presents a speech to either praise or definite Love. Phaedrus first points out that Love is the primordial god; Pausanias brings the theme of “virtue” into the discussion and categorizes Love into “good” one or “bad” one; Eryximachus introduces the thought of “moderation’ and thinks that Love governs such fields as medicine and music; Aristophanes draws attention to the origin and purposes

Aristotle follows Plato on several points; he agrees art is a kind of techne, that there is a measure appropriate to the creation of techne, and that the most important human arts are “imitative of human souls, bodies, and actions.” (79) This, however, is where their likeness ends. While Plato condemns the tragic drama and finds it detrimental to his ideal society, Aristotle believes that it can be an instrument of learning and an outlet for the emotions felt by all men. Aristotle finds the tragic dramas true purpose or nature as “the natural later development of a human religious activity.” (80) In the Poetics, Aristotle defends the tragic drama completely and proves that it is useful. He

Some of the greatest writers of all time actually found the start of their best ideas and works from other artists. William Shakespeare’s Romeo and Juliet, for example, used the same archetype that the Greek writer Ovid used in his short story, “Pyramus and Thisbe.” In each story, two star-crossed lovers meet against the will of their parents, which soon leads to the pair’s demise. However, more than just the archetypical plot is shared between these two masterpieces. The tragedies of Romeo and Juliet and “Pyramus and Thisbe” both have their own representations of lack of communication, misinterpretation, and impassable obstacles for crucial information.

Plato was a philosopher from Classical Greece and an innovator of dialogue and dialect forms which provide some of the earliest existing analysis ' of political questions from a philosophical perspective. Among some of Plato 's most prevalent works is his dialogue the Symposium, which records the conversation of a dinner party at which Socrates (amongst others) is a guest. Those who talk before Socrates share a tendency to celebrate the instinct of sex and regard love (eros) as a god whose goodness and beauty they compete. However, Socrates sets himself apart from this belief in the fundamental value of sexual love and instead recollects Diotima 's theory of love, suggesting that love is neither beautiful nor good because it is the desire to possess what is beautiful, and that one cannot desire that of which is already possessed. The ultimate/primary objective of love as being related to an absolute form of beauty that is held to be identical to what is good is debated throughout the dialogue, and Diotima expands on this description of love as being a pursuit of beauty (by which one can attain the goal of love) that culminates in an understanding of the form of beauty. The purpose of this paper is to consider the speeches presented (i.e. those of Phaedrus, Pausanias, Eryximachus, Aristophanes, and Agathon) in Plato 's Symposium as separate parts that assist in an accounting of the definition and purpose of platonic love.

In the literary `movements' of neo-classicism and romanticism, Voltaire's Candide and Goethe's The Sorrows of Young Werther represent the literary age in which they were written. In the following composition, textual evidence will be provided to demonstrate how each book accurately represents either the neo-classicism age or the romanticism age. Candide and The Sorrows of Young Werther will be examined separately, and then examined together. After, a discussion about how each age seems to view the nature of man and the significance of moral and spiritual values will be presented. Also, a personal interpretation of the conclusion of each book will be given. Lastly, quotes

As the era of literature slowly declines, the expert critiques and praise for literature are lost. Previously, novels were bursting at the seams with metaphors, symbolism, and themes. In current times, “novels” are simply short stories that have been elaborated on with basic plot elements that attempt to make the story more interesting. Instead of having expert critical analysis written about them, they will, most likely, never see that, as recent novels have nothing to analyze. Even books are beginning to collect dust, hidden away and forgotten, attributing to the rise of companies such as Spark Notes. An author deserves to have his work praised, no matter how meager and the masses should have the right to embrace it or to reject it. As

Lastly, the Romantic Era blended human emotions with nature. The interfacing of emotion and nature was emblematic of Romantic poetry, whether it engrossed the idea of bequeathing human emotions to an innate article like a river or connecting the scenery to the temperament of the writer. (James, 491) This kind of beauty that is

In ancient times, humor or comic was strictly censored. In places like Greece and Egypt, jokes were even forbidden in social situations. Considering the almost taboo nature of humor, it's hardly surprising that humor never received particular attention from ancient scholars. Plato was averse to humor as jokes and sarcasm were not encouraged and men and women were expected to be serious rather than frivolous about all issues. Some ancient scholars went to the extent to argue that humor could lead to sarcasm, disrespect, vulgar or volatile discourse and finally anger, resentment and even murder.