Paul Callus Unspoken Words

Unlike Paul, Erik changes the slightest bit in Tangerine, he goes from a little evil, to very evil. Throughout the story, the reader can see this change happen right in front of their eyes. Erik’s actions worsen after every page. He starts off with minor problems, but those minor problems turn into massive mishaps with massive consequences.

The resources of the soul are immense and go far beyond our highest imagination. We do not know our soul’s potential, however, we do know that it is almost immeasurable.Finally, both men believe that the imagination can uplift and change our lives.

Emerson begins his major work on individualism by declaring the importance of thinking for oneself instead of humbly acquiring someone else’s belief. Emerson says, “To believe that what is true in your private heart is true for all men — that is genius”. The one who scorns personal intuition and, instead, chooses to admit others' opinions lacks the inventive power necessary for strong, fearless individualism. Emerson says, “Trust thyself,” a saying that ties along this initial section of the essay. This simply resembles to believe others' judgments is poor-spirited, with no inspiration or hope. An individual with dignity, exhibits originality and is childish unspoiled by egoistic desires but mature. Emerson currently focuses his attention

By thinking for his individual self, he managed to recreate electricity and discovers the light bulb. He then went through a long term and finally got the chance to share his findings with the Home of the Scholars, and they rejected it. With this example, the author tries to suggest that being self-reliant and thinking for oneself can lead to scientific progress, something that this society does not do. She also implies that thinking individually can lead to higher things rather than being a part of dictatorial world and adhere to

We all have a way of channeling our thoughts, some through writing some through painting. The concept

In his essay, “Thought,” Louis H. Sullivan illustrates the importance of real thinking and creative thinking. He asserts that words are not really necessary to use to express our thoughts. He presents other wordless forms of communication to translate our thoughts into loud expressions. Music, painting, images and other wordless forms are the solution the author suggest, as better forms of communication. “Real thinking is better done without words” Sullivan argues. “Words” cut off the inspiration of creative thinking, and disturbs the imagination when someone tries to translate their thoughts into spoken language. According to the author, images are the best way to translate our creative thoughts without the interruption of finding the perfect word to describe an idea. Sullivan attempts to persuade his audience to avoid reading because it deprives them from real thinking: asserting that it must be only done in the present. He discusses that writing is a slow process: many thoughts dissipates as one struggles to put their thoughts into words. Another point that Sullivan argues is that one should only think in the present, and focus in the present alone because the present is the only thing that matters. Sullivan explains, “You cannot think in the past, you can only think of the past… you cannot think in the future, you can only think of the future” … “One is dead and the other is yet to be born.” The author argues that it is not good idea to expand our imagination onward and

This is why Socrates wants the thinkers meetings to continue; he sees that each individual is willing to learn, but they need time to be comfortable with their own thoughts. This is exactly what makes difficult conversations so hard to have. Our ideas are the essence of who we are; they are what forms us. Many times we only let few or certain people see this part of us in its entirety because of how vulnerable it makes us. Once we are able to set aside our discomfort, and be open with our ideas, great things can

How does one influence, change one’s opinion and raise questions with only the choice of words? May Swenson, one of the most recognized and creative poets out there, uses her word choice and crafts humorous, vivid imagery, and startling details into her poetry. Swenson’s poetry is filled with living words with fresh ways of describing her emotions or beliefs, and held together by a subtle but strong philosophical thread. Swenson packs a punch in her poetry that's never watered down, never less than rigorous and precise -- yet she never lets the reader see the intricate structure behind the brilliance of the image. There's always the sense of a fiercely intelligent spirit at play in her work. Swenson utilizes her imagination and experiences from her past to raise questions about the wonders of life, identity and religion in order to force the reader to challenge themselves with new questions and introduce others to a new point of perspective.

Philomel is the princess of Athens and sister to Pronce who is the wife of Tereus, the king of Thrace. After an incident which involved Philomel and Tereus, Tereus raped Philomel and warned her not to tell a soul. To make sure of this, Tereus cut out Philomel’s tongue, yet she managed to still tell her sister Pronce. So through revenge, they fed Tereus’ brother to him and all this mess resulted in all three get turned into birds. Philomel into a nightingale, Pronce into a swallow, and Tereus into a sea hawk. One thing that is kept in mind in this myth is the fact that Philomel never really got the chance to tell more people of what happened to her due to her tongue being cut out and being turned into a bird made

poem is not merely a static, decorative creation, but that it is an act of communication between the poet and

The imagery of “Intellect” is challenging: the poem features a fountain, a wave, the shore, and wings—all in just six lines. This abstract imagery allows us to tap into our own intellect and it leaves room for the reader to interpret its meaning. Let us contemplate the fountain first. A fountain is often used to symbolise the source for something desirable: whether it be a drinking fountain, a fountain of youth, or the fountain of life we come across in Christian doctrine. Often times we crave rules; or we might just crave direction or someone to tell us what to do. Unfortunately, the source of these rules is often society. We choose to listen to the voice of society for direction, instead of turning inward. Perhaps by writing

The exploration of the mind and the way our conscious mind perceives the symbols of our subconscious minds was new ground and it gave art a new voice with which to sing.

It is human nature to interpret and reinterpret life and find meaning of one’s place in the world. Without such knowledge, or belief for that matter, any possibility of humanity is lost. Hence, humans are plagued with the necessity to interpret themselves and their connections to their surroundings—both human and physical. Because one’s connections and contexts for interpretation are endless in some sense, humans are inherently a divided self—the culmination of all given interpretations they make for themselves and interpretations from others. In addition, this totality of interpretations through the lens selves as being what is around you, it follows that poetic-rhetorical language is necessary in discussion of the divided self.

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”

In his essay, Imagination as Value, Stevens reminds us that “the imagination is the power of the mind over the possibilities of things […] it is the source not of a single value but of as many values as can reside in the possibilities of things” (136). With these words in mind and from what we have already noted in “Men Made Out of Words,” we can assert that the “possibilities of things,” mentioned in the essay, are the same as the reveries, poems, and myths, hinted at in the poem; however, one needs to clarify the difference between the ‘possibilities of things’ and the ‘things’ themselves. For Stevens, the imagination is ‘metaphysical’ or something which resides in the abstract but at the time it serves as “the only clue to reality [i.e. things]” (137); therefore it is through the imagination that reality derives its possibilities i.e. its myths, reveries, and poems. In Stevens argument, the imagination is the liberator