Dante, Plato, Aristotle Essay

The appointment is poesy v. philosophy. Plato speaks of a quarrel b/t metrical composition and philosophy. He dismisses the arts spot Aristotle defends them. DO we recover traces of this quarrel in later(prenominal) traditions? If so, where? And how is it played tabu there? For this essay, in addition to Plato and Aristotle, snap on Dantes Inferno. (Please look to see if my thesis is clear and strong, my evidence is totally relevant, and whether this whole essay persuades you) Throughout his life, Plato strongly believed that the arts and philosophy this instant opposed each other.On the other hand, Aristotle defended rime as an fear to philosophy. Dante, a philosophical poet, successfully synthesizes Plato and Aristotles views in the Divine frivolity of the Inferno without compromising either school of thought. He acknowledges the fact that while the arts withdraw its uses within the tangible realness and philosophy its uses in the spiritual, both need the other to be complete. Both Plato and Aristotle agree that poem brings about great emotion which has a lasting impact on the individual and society. However, they disagree on numberss emotional effects.In Meno, Plato believes it results in harm while Aristotle argues that it leads to improvement in Poetics. Upon closer inspection, we see that Dantes Inferno contains a philosophical signifi burnce underlying its poetic style. Poetry and philosophy work towards the same end, further in several(predicate) offices. There is no doubt that poetry is an bogus. What Aristotle and Plato dispute over is the mention of that sham. Plato strongly states that the arts atomic deadener 18 mimetic, twice removed from the truth. They are an imitation of the ideal entities in the state of the forms, in which all things are perfect.For instance, calamity presents multiple possibilities and situations rather than a single essence. In Meno, Platos Socrates discusses the residuum between doxa and epist eme. Poets, politicians and priests utilize doxa, a type of knowledge that is non liaise done any judgmentual reasoning. This further demonstrates the composition of the material realm. amend opinion, or doxa, flees from the mind just as the materialistic body promptly perishes. Socrates says opinion is not worth much until it is fastened with reasoning of motive and effect (Plato 65). He is alluding to episteme, true knowledge that corpse in the brain.This is established through intellectual inquiry in the ideal realm. Throughout the dialogue, Menon insults Socrates by saying he looks deal a stingray, alluding to a type of numbing-drug. However, Menon proves to have phony knowledge as Socrates shows how anamnesis occurs via the Socratic Method. Only when he experiences aporia, the state of confusion and realization of matchlesss ignorance, can he reach true knowledge. The reference to the drug, pharmakon, symbolizes how Menon became numb to the false, material world in o rder to transition to the bode realm where all things originate.While Plato asserts that imitation comes from the true essence of things, Aristotle believes it has its roots in human action. In Poetics, he examines how humans have an instinct for imitation, harmony and rhythm. We often learn our earlier lessons from mimesis. Aristotle asserts that the just way to reach the ideal is through action. He views it as a horizontal developmental rather than a vertical one, as Plato did. By the process of energia, we move from potential to actuality. This is also analogous to the judgment of the material to the ideal. We come out of the cave and into the sun through our proclaim activities.As the arts best represent action, cataclysm contains knowledge because it presents mental possibilities and universal truths about ourselves. Each possible reality may be the ideal essence. Tragedy, after all, is an imitation of action and of life, not men. The stage externalizes whats within our s ouls. The actors play out the meaning of life which the audience can safely inspect without endangering themselves. This perspective is extremely human-centric compared to Platos divine ideal. For instance, tragedy contains plot that is action-centric and based on the structure of incidents.Unlike a story, a plots events can be resequenced in any fashion. This is like an experiment in which the stage is our lab. A plot can what is more be split in two ways complex or simple. A complex plot contains peripeteia and anagnorisis. The latter, exchangeable to Platos Meno, shows the feeler from ignorance to knowledge. Yet the characters on stage, even after making decisions, are still susceptible to Fortunes depart. Thus peripeteia occurs, alluding to god and the divine realm we ultimately reach with the aid of anagnorisis. There are near things people cant control.However, what we do imitate and control are our actions within the material world. For Aristotle, action was the most s ignificant aim to focus on. In Dantes Inferno, the poet Virgil chokes Dante into Hell. Poetry begins to act as a gentler allay compared to philosophy. It is more relatable to the human mind and physical world. Through catharsis, Dante must excrete all emotional tumult to become enlightened. This process of catharsis is similar to the movement from the material to spiritual realm. Paradiso, the highest realm, is where true intellect exists and where we become one with immortal.In the second canto, Dante demonstrates the wickedness of emotions and the materialistic realm when Virgil tells him Your soul has been assailed by cowardice, which often weighs so heavily on a man- distracting him from honorable trails- as phantoms frighten beasts when shadows fall. (lines 45-48) This is an extremely Platonian perspective. Partially right, Plato believed that tragedy produced cowardly leaders as it appealed to passion rather than logic and reason. Through Virgil, Dante demonstrates how the arts, especially poetry, are effective in cleansing the soul of emotion by experiencing or contemplating it. often like the Socratic Method in Meno, Dante must become numb to false knowledge via catharsis and begin with a clean slate. He accomplishes this by observing the damned in the inferno. When he passes through aporia, only then will he become enlightened and obtain truth. The shadows are a reference to Augustines visio corporals, the cave of pure materiality, in which false knowledge resides. Dante says in canto one that man must come out of the shadowed forest (line 2) where he is so full of sleep (line 11). completely this is accomplished through human action, represented through tragedy and poetry. Furthermore, Virgil symbolizes the flood tide emergence of Christian Rome through Dante. He has already interpreted Aeneas to the Underworld, setting up the entire story. Parallel to this, poetry lays the necessary launching for the coming age of philosophy. Dante uses typol ogy of the inferno to paradiso. Like the Hebrew Bible, the inferno remains incomplete and foreshadows whats to come. The New Testament completes the text, in the same way philosophy does to poetry. Each is interdependent on the other.In the Inferno, Dante fails to read the roll to the Gateway to Hell, demonstrating how the archaic style of backgrounding no longer resounds in the new age of foregrounding. This method brings to light how the mind reads and interprets with reason. Because the material realm is incomplete, Dante cannot move to this abstract, spiritual meaning without first going through the forest. In the third canto, Virgil describes to Dante how those in hell have lost the good of the intellect (line 18). The mind can never be fulfilled as it is a pure sensory experience.This is proven when Virgil is only able to guide Dante so far. He cannot take Dante beyond the material realm because he is not a Christian. He represents the arts, the non-metaphysical. A higher ent ity, Beatrice, will lead him to paradiso. Virgil declares in canto one If you would then ascend as high as these / a soul more worthy than I am will guide you (lines 121-122). Likewise, we can think of poetry, represented by Virgil, as a overwhelm to philosophy, the eventual remedy of Beatrice. While philosophy speaks of a thing itself, poetry uses metaphors as a transition to reach a philosophical conclusion.It is a vehicle for truth in its own peculiar way, addressing our minds through imagination, susceptibility and feelings. Dante can synthesize Plato and Aristotles views because they are working toward one communal goal the divine, the cave of pure intellect. The mechanisms of philosophy are simply a more sophisticated turn on poetry. Traces of Plato are still seen in Dante, especially when he states in the fifth canto Those who undergo this torment are damned because they sinned subjecting reason to the rule of lust (lines 37-39).However, in tragedy, what seems irrational a nd cockeyed to the audience becomes permeated with reason as it speaks the universal truth about ourselves. The arts show there is something beyond human thought and action as the audience learn how we cannot control everything. There is something beyond this human, materialistic world that we cannot begin to understand. This is God, which is exactly what philosophy aims at. It speaks the truth, not only of human action, but of the existence of the ultimate good. In this way, poetry consists of rational thought and intellect.Virgil tells Dante in canto eight Forget your fear, no one can hinder our charge One so great has granted it (lines 104-105). We are turning interior to our souls to reach the divine. This also speaks of Gods infinite and unexplainable power. God makes the impossible possible. Dante had to go down into the deepest level of hell to see the divine. This raillery demonstrates catabasis and anagogy, the one single movement towards God. Furthermore, Cassius and B rutus foreshadow Judas betrayal. These three make up the material inversion of the Holy Trinity. We are able to see God in Lucifer.This demonstrates the typology from the inferno to paradiso as well as the process of medical history in Platos Meno and Aristotles Poetics. Just as Dante had to move through death to experience life, the reader must pass through poetry to obtain philosophy. All thinking about God involves moving from the material to the realm of the forms. The divine uses metaphors, our language, to help us understand. We are able to indirectly talk to God through poetry as He determines our fate. It was his will to send Dante into Hell. Like poetrys catharsis and philosophys pharmakon, Dante engages his mind as he journeys through the inferno.By looking and contemplating the pitiful of the damned, he becomes reconciled to aspects of his life which would otherwise be nonsensical. Both the poet and philosopher look the existence of God and of the metaphysical. Althoug h Dante recognizes that the arts have limited utility, he realizes how poetry helps lay the foundation for philosophy through the Aristotelian and Platonian method. It has a cognitive function by helping to better appreciate and complete philosophy. As Venantius Fortunatus wrote in his hymn Vexilla Regis, by death did life procure. Likewise, by poetry did philosophy come about.