Applying Plato's Allegory of the Cave to Oedipus Rex, Hamlet,and Thomas Becket
Plato was one of the greatest philosophers of all time. He is recognized all over the world as one of the greatest minds of all time. Knowledge is required under compulsion has not hold on the mind.(Durant 24). Plato's dialogues are the fruit of a rare mind; but the could not have kept their perennial freshness if they had not somehow succeeded in expressing he problems and the convictions that are common to Plato's age and to all later ages. Genius alone is not enough; or perhaps it were wiser to say that we recognize genius only in the power of divination that overleaps the boundaries of a special time and place.(Jowett xi). Although Plato did not come up with the Allegory of the Cave, Socrates did, he transcribed it. In their own ways, Oedipus Rex, Hamlet, and Thomas Becket, prove that one must break the chains of the cave to discover the truth. In view of Plato's Allegory of the Cave, several literary works contain characters who break from the shadows of the cave to witness "the real world".
Plato's Allegory of the Cave, presents Socrates instructing one of his students to imagine that there was a cave that was totally dark, except from the light that comes from the entrance and from a fire. The student was instructed then to imagine that the inhabitants of the cave have their necks and legs chained to the wall, impossible for the inhabitants to move. The people who control the cave place objects in front of the fire so that the inhabitants of the cave only see the shadows of the objects that the people want them to see. The chained inhabitants never get to see the real objects, only the distorted images of the objects. Furthermore, the inhabitants of the cave perceive the distorted objects as real, not the actual objects as being real. Socrates, then tells the student to imagine if the inhabitants of the cave were suddenly freed of the chains. The inhabitants would be in agonizing pain, for the first time in their lives the individuals can stand and move their heads. Their bodies are not used to being in such positions. The inhabitants of the cave, now are able to behold the light glimmering outside the cave. The inhabitants who were only adapted to only darkness, perceive light. The light stabs at their eyes, it is too painful for these individ...
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...the cave and witness the light of the real world, one will never get to see the harsh truth of their destiny.
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Durant, Will. "The live and opinions of the greater philosophers." The Story of Philosophy. New York: Simon and Schuster Rockefeller Center. 1961.
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Becket Murder. Hyperhistory. Online. Http://www.hyperhistory.com/online_n2/ppersons5_n2/beck.html
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Portraying the prisoners inside the cave for a lifetime further describes his beliefs on how closed minded society is in his opinion. The “light outside the cave” explains how he feels knowledge is the source of light to everyone’s lives. Without knowledge, there is lack of light. Also, since society does not want to gain further knowledge, they will seem to stay stuck in the dark tunnel. Plato also uses personification to give reader insight on how someone may treat the earth and appreciate it. For example, Plato states “Clearly, he said, he would first see the sun and then reason about him.” The reasoning behind this is to explain how a man would reason with the sun as if it were an actual speaking person. The style of Plato’s writing gives readers an understanding on why his work is named “Allegory of the Cave”. The use of his rhetorical devices give deeper meanings to the Earth and the nature it
The allegory of the cave starts off with Plato telling his audience to imagine that they are prisoners in a cave. He tells them that they are chained up to some large rocks and that their arms, legs, and head are tied so that they can only look at the stonewall directly
A good example of Plato’s divided line is represented in the Cave Allegory, which is one of the core messages of his philosophical works. Plato used a line as an illusion to divide human knowledge into four levels, which differ in degree and clarity. Taking a line and dividing the line into two sections not equal in length; the upper level equates to knowledge, this is the realm of intellect. On the lower section of the line equates to opinion and is the world of sensory knowledge. Then cut these lines into two sections, this produces four line segments. This visual gives us four cognitive states of thinking. These states of thinking are as follows: Noesis, Dianoia, Pistis, and Eikasia.
The Allegory of the Cave is a parable that demonstrates how humans are afraid of change and what they do not know. In this work, Plato suggests a situation in which men are living in an underground cave. The one entrance is located near the top and there, a burning fire casts shadow. The men of the cave are chained so that they can only see the wall and cannot turn around. When objects pass by it creates a shadow on the wall. The shadows are the only thing they can see and therefore is the only thing they know to exist (747). Somehow one of them gets loose and wanders outside the cave (748). When he gets out, he is astonished at what he finds. He comes back in to tell the others about what he saw. The other men think he is mad and plot to kill him (749). This illustrates how fear, inherent in the primitive nature of man, only serves to promote his ignorance.
Yeats' early work was not especially Irish. Soon, however, he began to look to the ancient rituals and pagan beliefs of the land for his artistic inspiration. He tried to merge this interest with his aristocratic tastes to create an original Irish poetry and to establish his own identity.
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 Book VII of The Republic, Plato tells a story entitled "The Allegory Of The Cave." He begins the story by describing a dark underground cave where a group of people are sitting in one long row with their backs to the cave's entrance. Chained to their chairs from an early age, all the humans can see is the distant cave wall in from of them. Their view of reality is soley based upon this limited view of the cave which but is a poor copy of the real world.
Whether it’s in the news, TV shows, or movies, it’s happening all the time. It also happens in our everyday personal lives. We get caught in a routine and keeping doing it and it bothers us if that routine is broken or that someone tells us that we should stop doing that daily routine. Plato wants us to look beyond the cave to see what is around us and what is real, not the fake reality that the world sometimes projects. Like Cooper in Interstellar, he stepped outside the “cave” to find a hope for humanity, and at the same time found the tesseract, or the outside of the “cave” again, and found the knowledge he needed to help his daughter figure out the gravity equation and save humanity from dying out. Plato wants us to spread the knowledge of what’s really out there, rather than be prisoners
He was a poor man, he did not have a stable job and he was also an alcoholic. He drank a whole lot just to try to escape from the demon from his depressed and saddened own world, he expresses his feelings through all the short stories and poems he wrote. His perspective and his own diffe...
In "The Allegory of the Cave," prisoners in a cave are forced to watch shadows as people behind them are forced to accept these shadows as reality -- "To them... the truth would be literally nothing but the shadows of the images. One prisoner, however, is released, and stumbles into the real world, containing more depth and complexity than they had ever known. At first, the prisoner will be pained at the bright, piercing light, but will eventually recover. According to Plato, the freed prisoner is then obligated to return to the shadows of the cave, to inform the shackled prisoners left behind of the real world. The prisoners, however, will not believe the freed prisoner, and may even go as afra s to kill him for such "lies" contrary to their "reality." The pursuit of the truth is, therefor, a painstaking but rewarding process. According to Plato, the physical world is a world of sight, one that lacks meaning if left alone. Only those who manage to break into the sunlight from the cave will ascend to the intellectual world. The prisoners in the shadows only know of the dull physical world, while those who ascend into the sunlight learn of the spiritual world, and are exposed to the first hints of truth. The soul ascends upward into the realm of goodness and of the truth, where "... souls are ever hastening into the upper world where they desire to dwell.." The pursuit of goodness and of the truth, then, improves the soul, as the soul desires to be elevated to a higher state of knowledge and morality. Caring for the self and the soul involves freeing the shackles of the physical world and ascending to the "... world of knowledge... the universal author of all things beautiful and right... and the immediate source of reason and truth in the intellectual..." The soul yearns to dwell in a world of morality and knowledge, and only the pursuit of
William Butler Yeats was born on June thirteenth, eighteen sixty-five, at ten-forty pm, in Sandymount, Dublin (Foster, 13). He grew up lanky, untidy, slightly myopic, and extremely thin. He had black hair, high cheek bones, olive skin, and slanting eyes (Foster, 34). It was presumed he was Tubercular. As a child he was ridiculed, mainly because of his Irish heritage (Foster, 16). He accomplished many things in his life time.
Plato's allegory of the cave is a metaphysical illustration of the philosopher’s view of the humanity. We are represented by the prisoners, who are mired and held captive by an extremely limited view of the world, and prevented by their chains from viewing the actual Truth of existence. We are each locked up in our own worldview, living our lives unknowingly in the shadow of actual truth. Having nothing else to rely upon but our meager eyesight and hearing, capable of only believing in shadows and whispering disembodied voices, once exposed to truth, it is blinding to us. We are dazzled and disoriented, afraid of the glaring sight that has been so rudely forced upon us.
The Allegory of the Cave is Plato's explanation of the education of the soul toward enlightenment. He sees it as what happens when someone is educated to the level of philosopher. He contends that they must "go back into the cave" or return to the everyday world of politics, greed and power struggles. The Allegory also attacks people who rely upon or are slaves to their senses. The chains that bind the prisoners are the senses. The fun of the allegory is to try to put all the details of the cave into your interpretation. In other words, what are the models the guards carry? the fire? the struggle out of the cave? the sunlight? the shadows on the cave wall? Socrates, in Book VII of The Republic, just after the allegory told us that the cave was our world and the fire was our sun. He said the path of the prisoner was our soul's ascent to knowledge or enlightenment. He equated our world of sight with the intellect's world of opinion. Both were at the bottom of the ladder of knowledge. Our world of sight allows us to "see" things that are not real, such as parallel lines and perfect circles. He calls this higher understanding the world "abstract Reality" or the Intelligeble world. He equates this abstract reality with the knowledge that comes from reasoning and finally understanding. On the physical side, our world of sight, the stages of growth are first recognition of images (the shadows on the cave wall) then the recognition of objects (the models the guards carry) To understand abstract reality requires the understanding of mathematics and finally the forms or the Ideals of all things (the world outside the cave). But our understanding of the physical world is mirrored in our minds by our ways of thinking. First comes imagination (Socrates thought little of creativity), then our unfounded but real beliefs. Opinion gives way to knowledge through reasoning (learned though mathematics). Finally, the realization of the forms is mirrored by the level of Understanding in the Ways of Thinking. The key to the struggle for knowledge is the reasoning skills acquired through mathematics as they are applied to understanding ourselves. The shadows on the cave wall change continually and are of little worth, but the reality out side the cave never changes and that makes it important.
Though written only two years after the first version of "The Shadowy Waters", W.B. Yeats' poem "Adam's Curse" can be seen as an example of a dramatic transformation of Yeats' poetic works: a movement away from the rich mythology of Ireland's Celtic past and towards a more accessible poesy focused on the external world. Despite this turn in focus towards the world around him, Yeats retains his interest in symbolism, and one aspect of his change in style is internalization of the symbolic scheme that underlies his poetry. Whereas more mythological works like "The Shadowy Waters" betray a spiritual syncretism not unlike that of the Golden Dawn, "Adam's Curse" and its more realistic fellows offer a view of the world in which symbolic systems are submerged, creating an undercurrent of meaning which lends depth to the outward circumstances, but which is itself not immediately accessible to the lay or academic reader. In a metaphorical sense, then, Yeats seems in these later poems to achieve a doubling of audience, an equivocation which addresses the initiate and the lay reader simultaneously.
Author of poetry, William Butler Yeats, wrote during the twentieth century which was a time of change. It was marked by world wars, revolutions, technological innovations, and also a mass media explosion. Throughout Yeats poems he indirectly sends a message to his readers through the symbolism of certain objects. In the poems The Lake Isle of Innisfree, The wild Swans at Cole, and Sailing to Byzantium, all by William Yeats expresses his emotional impact of his word choices and symbolic images.