The aesthetics of being taken in by a tall tale or someone’s superior wit, is explained by simple human curiosity. We love to be entertained by suspense, comedy, pain, sadness, hurt and etc. Not only are these emotions observed, but experienced by the audience. That is what entices the human race. To be summoned into a story and letting the imagination explore through the words, letting it create a life of it’s own inside the audience. That alone is so devious, but there is so much more to the cunning within and surrounding a tale.
This pleasure of being sunken into the words of another is deeply expressed in Plato’s The Apology. In the beginning the viewer is already wrapped into the feeling of being among the masses. What an expressive
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There is a lot of back and forth between Meno and Socrates in the beginning it’s a heavy conversation. There is this branching off of “virtue” and “a virtue”, it’s argued throughout the piece. When discussing, the dialogue is twisted and turned this cunning nature of almost reaching an agreement, yet there is a “What about this?” statement thereafter. Within all of this we come to a conclusion of no conclusion. Virtue cannot be known nor obtained or acquired by any manner. What is so cunning and clever in this piece? Plato makes an art of winding around and intriguing the audience’s mind putting an edge on each conclusion, until you anti-climactically (almost hysterically humorous) end. Not only again is Plato handing out this curiosity in a dialogue but sending an internal message to the …show more content…
Here is a worldly meaningful text, discussing the meaning of perception. Presented with the balanced thinking of “the way we see things”, simply encompasses this discussion. The aesthetic of cunning in this text is bringing a highly sophisticated response to a straightforwardly statured term. The art in this is displayed through, again, is so cunning, that it’s blatantly talked about as “Did you ever remark that they are also most cunning matchmakers, and have a thorough knowledge of what unions are likely to produce a brave brood?”. Socrates was talking about mid-wives. Commenting on the innocently intelligent ways of something in that time seen as very insignificant. Cunning inside of cunning, is a way to describe this writing of Plato. We are so entertained by this cunning in this particular work because the act of Plato’s internal direct text is describing an act, and at the same time it’s committing an act. When in aesthetic visual art is so important, provoking emotions and questions from the piece itself. A reflection from the artist, yet no tangible act to make the viewer feel that way, it’s all in the mind. So Plato’s presentation through cunning is aesthetically pleasing in the way of provoking the viewer, interacting with the
character, hyperbole, a dramatic setting, imagery and a huge tragedy in order to display the
The authors, Ambrose Bierce of 'An Occurrence at Owl Creek Bridge' and Edger Allan Poe of 'The Tell Tale Heart' have unique styles to pull the reader into the story. Both authors use unreliable narrator and imagery to allow the reader to picture and follow the narrator's way of thinking. In the Tell Tale Heart, the man is very repetitious and his psychotic behavior is what intrigues the overall dark madness of The Tell Tale Heart. In Occurrence at Owl Creek Bridge Bierce uses illusions to allow the reader to follow wherever his ideas lead which also intrigues the overall dark madness effect.
In what is noted as one of Plato first accounts, we become acquainted with a very intriguing man known as Socrates; a man, whose ambition to seek knowledge, inevitably leaves a significant impact on humanity. Most of all, it is methodologies of attaining this knowledge that makes him so mesmerizing. This methodology is referred to as Socratic irony, in literature. In any case, I will introduce the argument that Plato's Euthyphro is extremely indicative of this type of methodology, for the reason being that: Socrates's portrays a sense of intellectual humility.
It is said that fiction is an essentially rhetorical art and that the author tries to persuade the reader towards a specific view of the world while reading. This is evident in both short stories, A Secret Lost in the Water by Roch Carrier, and He-y Come on Ou-t by Shinichi Hoshi. Although through A Secret Lost in the Water, Roch Carrier displays how fiction is an essentially rhetorical art better than Shinichi Hoshi in He-y, Come on Ou-t (awkard sentence), Shinichi Hoshi demonstrates it better through the use of prognosis. Furthermore, by utilizing the characters, such as the farmer from A Secret Lost in the Water, and the use of symbolism such as the hole from He-y, Come on Ou-t, it is evident that the author makes an endeavour towards persuading
Works of literature that attract people usually contain some wild thinking. Henry David Thoreau, in his essay “Walking,” makes this assessment of literature: “In literature it is only the wild that attracts us. Dullness is but another name for tameness. It is the uncivilized free and wild thinking in Hamlet and The Iliad, in all scriptures and mythologies, not learned in schools, that delights us.” In the play “Macbeth,” Shakespeare uses “uncivilized free and wild thinking” in order to make the storyline interesting and entertaining.
In "The Tell-Tale Heart," by Edgar Allen Poe, the setting, the plot, the characters and even the point of view are great contributing factors to the overall reaction of the readers of the narrative.
All of Sun Tzu’s strategies in The Art of War have been adopted by American businesses in order for them to be successful. Chapter one of The Art of War is “Laying Plans” which has five fundamental factors: the moral law, heaven, earth, the commander, and method and discipline. In business the moral law means one’s mission or goal. Heaven compares to outside forces such as the market and dependencies. Earth would be the scene of action such as people, place, product, and process included in production. Commander is leadership like a sponsor or a bachelor of arts. Method and discipline are the guiding principles similar to business ethics, laws, and policies. Sun Tzu said, “These five heads should be familiar to every general; he who knows them will be victorious; he who knows them not will fail” (Tzu 2). Basically, what this means and how businesses relate to it is that before one does anything one evaluates all business options.
...and characteristic behavior, or creates a hero by letting his Nature triumph over the Fortune that has determined his previous actions. These interactions could, perhaps, be viewed merely as clever use of what we moderns would call "character" and "plot." Yet viewing them in terms of Fortune and Nature puts us more firmly in the medieval mind-view that characterizes so much of the Tales and lends them so much of their charm.
Thought the entire story there is a constant uncanny element, the unreliable narrator, and with it the questioning reader. In “The Tell-Tale Heart” by Edgar Allan Poe, the reader is forced to think whether they should believe the ramblings of a crazy and unreliable narrator or not. This really brings out the uncanny in the story.
For these two articles that we read in Crito and Apology by Plato, we could know Socrates is an enduring person with imagination, because he presents us with a mass of contradictions: Most eloquent men, yet he never wrote a word; ugliest yet most profoundly attractive; ignorant yet wise; wrongfully convicted, yet unwilling to avoid his unjust execution. Behind these conundrums is a contradiction less often explored: Socrates is at once the most Athenian, most local, citizenly, and patriotic of philosophers; and yet the most self-regarding of Athenians. Exploring that contradiction, between Socrates the loyal Athenian citizen and Socrates the philosophical critic of Athenian society, will help to position Plato's Socrates in an Athenian legal and historical context; it allows us to reunite Socrates the literary character and Athens the democratic city that tried and executed him. Moreover, those help us to understand Plato¡¦s presentation of the strange legal and ethical drama.
The dialogue sets itself up to be like a typical Socratic dialogue with the interlocutor leaving once he’s brought to his state of aporia, however is continues to an end which presents the positive effects of elenchus as well. Meno’s stingray speech presents the grievances of those “harmed” by elenchus and Socrates’ response shows that the process can actually be beneficial. With the sample elenchus of the slave boy, the final characteristic of Meno being a transitional dialogue, Plato reveals that Socrates’ method of dialectic does not only lead to the negative effect of “numbing”, but also to the gain of truth in the sense of the knowledge of the essence of moral
Plato's rhetoric uses dialogue and dialectic as a means of making meaning known. Anthony Petruzzi says that Plato’s “Truth is neither a correspondence with an "objective" reality, nor does it exist solely as a coherent relation to a set of social beliefs; rather, truth is concomitantly a revealing and a concealing, or a withdrawing arrival” (Petruzzi 6). However, for Plato truth becomes a matter of correspondence or correctness in “the agreement of the mental concept (or representation) with the thing” (Petruzzi 7). In other words, the tr...
Plato. "Apology." The Longman Anthology of World Literature. Ed. David Damrosch and David L. Pike. Compact ed. New York: Pearson, 2008. 559-75. Print.
In his several dialogues, Plato contends the importance of the four virtues: wisdom, courage, self-control, and justice. In The Republic, he describes a top-down hierarchy that correlates to the aspects of one’s soul. Wisdom, courage, and temperance preside control over the rational, spirited, and appetitive aspects of the soul. It is when one maintains a balance between these aspects of his soul that he attains peace within himself: “...And when he has bound together the three principles within him...he proceeds to act...always thinking and calling that which preserves and cooperates with this harmonious condition (Plato 443c).” Wisdom and knowledge consistently remain at the top of his view of happiness. During the apology, Plato is asked what punishment is best suited for him. He sarcastically answers, “to be fed...(It is) much more suitable than for any one who has won a v...
Three elements of literary work that truly sum up the theme of The Tell Tale Heart are setting, character, and language. Through these elements we can easily see how guilt, an emotion, can be more powerful than insanity. Even the most demented criminal has feelings of guilt, if not remorse, for what he has done. This is shown exquisitely in Poe's writing. All three elements were used to their extreme to convey the theme. The balance of the elements is such that some flow into others. It is sometimes hard to distinguish one from another. Poe's usage of these elements shows his mastery not only over the pen, but over the mind as well.