“Tacit” [Poetry Style #12] by Sikong Tu [w/ Audio]

Without a word,
The gist is grasped.
With no wails or soft sobs,
Sadness spreads heart-to-heart.
There is an enigmatic Prime Mover
With whom each of us either sinks or floats.
Dregs of rustic wine in a fine strainer.
Buds on the cusp of bloom turned back by cold.
Dust motes spreading by Brownian motion.
Sea spume floating and tumbling onto shore.
Shallow, deep, cohering, or scattering.
Of ten thousand, any sample will do.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the twelfth of the twenty-four poems. Translated titles vary: Herbert Giles entitled this one “Conservation,” whereas Tony Barnstone and Chou Ping called it “The Implicit Style.”

“Placid” [Poetry Style #2] by Sikong Tu [w/ Audio]

It thrives in silence and with calm --
ephemeral and gossamer.
It's ever-flowing harmony,
gliding with a solitary crane,
wisping like the gentle breezes
that rustle and billow one's robe,
trilling softly like a bamboo flute.
How does one become one with it?
A chance meeting, lucked into, but
don't lunge forward, or it'll vanish.
When you think it's attainable,
it twists in your hand and is gone.

NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the second of the twenty-four poems.

The Good, the Bad, and the Bat-Shit Crazy of The Republic by Plato

INTRODUCTION: The Republic is the most read and discussed of the Socratic dialogues written by Plato, and for good reason. It offers some intriguing ideas that have influenced philosophy, politics, religion, and even science fiction to this day. That said, the book isn’t without its stinkers, and many people have reasonably asked whether a state or nation employing all of Plato’s guidance wouldn’t be more dystopian than utopian. To avoid the error committed by many religious people regarding scriptures (and probably by a few scholars regarding Plato’s work,) we shouldn’t ignore the parts that are — let’s say…, complete lunacy, and also shouldn’t contort language and reason to make the questionable ideas palatable. With that in mind, we’ll start with a couple of The Republic‘s banana ideas before examining a few that have stood the test of time.

PLATO’S WAR AGAINST POETRY & THE ARTS: In The Republic, Plato goes on a tirade against the arts on the basis that they aren’t truthful and that they encourage readers and viewers to behave from the lesser elements of their “soul” – the emotional and desirous bits. Plato’s condemnation of art is informed by two of his major teachings. First, the “tripartite soul” in which reason is king and emotion and desire are lesser elements of humanity that should be checked by reason. Ergo, he doesn’t like that reading Homer makes people weepy or riled up. Second, in Plato’s conception of forms, for any given thing under the sun there’s an ideal form that was made once by god, then there are actual items made by craftspeople, and then there are the imitations made by artists. In Plato’s mind, this leads to a warped situation in which the craftsmen stray from the ideal by copying what artists presented, rather than seeking the divine ideal, and Plato is all about the pursuit of the ideal.  

Plato would grant artists the opportunity to prove that their works are of service to the state, but barring their demonstration that the art advances reason and is truthful it would be outlawed. To me, it sounds a lot like the Soviet Union where art was mostly jingoistic pieces that encouraged a Stakhanovite effort. At any rate, I’ve got to give this one to Aristotle who saw the cathartic value of art and poetry. There is value in the existence of a wide variety of modes of expression and ways of thinking about the world. It allows us to break new ground. I was just reading a book by Yeats in which he wrote: “Everything exists, everything is true, and the earth is only a little dust under our feet.” This may not seem like sound thinking in our rational age, but I like that such a counterweight exists.

THE SHARING OF WIVES & CHILDREN BY THE RULING CLASS: Plato’s Republic would be ruled by a philosopher-king, and it requires the ruling class to be specially educated and controlled to avoid pursuit of wealth and comfort. One such control is that the aristocrats can only have kids (unaborted ones, at least) under certain conditions, but the children wouldn’t know who their biological parents were.

Plato is no fan of democracy. In fact, democracy is the stage right before tyranny in Plato’s model of political devolution. [It starts with Plato’s ideal, Aristocracy, which devolves into Timocracy with the declining character of leaders (because they’re not well-trained philosophers.) Timocracy devolves into Oligarchy as the lesser quality ruling class becomes obsessed with wealth. This leads to Democracy because people get fed up with the oligarchs having all the money and they revolt. But since anyone can become leader, a tyrannical type will eventually rise to the top and use an iron-hand to maintain power.]

There’s a reason why, to my knowledge, this approach has never been tried, despite the immense popularity of Plato and The Republic. It relates to a previously mentioned point as it pertains to Plato’s ineptitude with regards to human psychology. Plato [like several other philosophers of the ancient world] believes one can kill emotion and desire through the power of pure reason. Reason maybe our smartest mental activity, but it’s neither fastest nor particularly capable of steering the ship. At any rate, this joint parentage scheme makes me think of the Harry Harlow experiments in which baby monkeys were put either with a wire mesh or cloth-covered “mother surrogate.” We’ve learned a lot about how psychopaths are made since the days of Plato. I think Plato’s guardian class would be chock-full of lunatics.

THE SUPREME IMPORTANCE OF GEOMETRY: I love a triangle as much as the next fellow, but I think Plato may have gone a little overboard with his views about the transcendent value of geometry.

WHAT PLATO GOT RIGHT: There are definitely ideas in The Republic that continue to contribute to humanity’s understanding of itself and the world. Here are a few good reasons to read The Republic — despite all that junk mentioned above.

THE ALLEGORY OF THE CAVE: Because of sci-fi works such as The Matrix, this is probably the most widely cited bit of The Republic. However, it’s not just a fictional or hypothetical idea anymore. One will also see references to Plato’s cave in nonfiction works of neuroscience and physics that deal with how our perceived world doesn’t equate to the objectively real world. Plato offers a very clear thought experiment in Book VII.

PLATO’S GENDER PROGRESSIVISM: In The Republic, Plato argues that women can be guardians of the state as well as men, and that women must receive the same education in order to do so. Lest the feminist jump all-in on Plato, it should be noted that he maintained some pretty misogynist / patriarchal views (e.g. women being like children,) as well as some bizarre ones (e.g. the wandering womb hypothesis.) However, in at least that one regard, Plato was ahead of his time.

KNOWLEDGE ACQUIRED UNDER COMPULSION OBTAINS NO HOLD: Given that Plato’s Republic would feature some harsh limitations of individual freedom, from lack of artistic expression to inability to know one’s own mom, it’s nice to see that he held some freedom-loving views, as well.

COURAGE IS STAYING SPIRITED IN ONE’S DECISIONS IN THE FACE OF PLEASURE OR PAIN: Much of The Republic is an attempt to define and distinguish the cardinal virtue of justice. In fact, in many Socratic dialogues, the primary objective is to understand virtues, and they’re often discussed at length, not always resulting in a firm conclusion. I like the definition of courage provided in The Republic. One makes a decision based on the virtuous path, and sticks with it even when pleasure or pain might divert one.

THE TENDENCY TOWARD DIMINISHING EFFECTIVENESS IN POLITICS: While I share neither Plato’s enthusiasm for aristocracy nor his pessimism about democracy (there’s a reason the world has abandoned the former in preference for the latter,) I do think there’s a potential grain of truth in his model of political devolution that’s mentioned in Books VIII & IX. I think there can be a proclivity towards weaker and less effective leaders over time under certain systems of governance. One can see this in the Soviet Union, and arguably in North Korea. It seems possible that there are systemic causes for devolution of political effectiveness, at least under certain approaches to governance. (I’d argue this is one of the reasons that democracy is best, because it can fully overturn the apple cart of governance rather than struggling with whatever continuity issues contribute to declining effectiveness.)

READ THE REPUBLIC, both for its great and for its dystopian ideas, because even when it’s bad, it’s stimulating.

BOOK REVIEW: Poetics by Aristotle

Poetics. EnglishPoetics. English by Aristotle
My rating: 5 of 5 stars

Amazon.in Page “Poetics” is the surviving volume of Aristotle’s guide to literary criticism. This volume explores Tragedy. [The lost volume covered Comedy.] Considering the age of this book and that it came from the student of one who was not a fan of poetics at all (i.e. Plato,) it is surprisingly readable and much of the information presented has aged well. [That said, there are some ideas that will be controversial – including, for instance, a blatantly sexist comment or two. Also, it should be pointed out that there is disagreement about what Aristotle was trying to say on a number of points.]

This short book is organized to dissect tragedy along many lines, laying out the four kinds of tragedy (complex, pathetic, ethical, and simple,) the segments of a tragedy (prologue, episode, exode, choric song, parode, and stasimon,) etc. But the work is probably most famous for two ideas. First, there is the idea that stories provide catharsis. For his teacher, Plato, the stories conveyed via poetry were all risk and no reward. That is, there was a risk that young and impressionable minds would take away the wrong lessons, and there wasn’t much to counterbalance that risk. Aristotle believed there was in fact something, and it was catharsis, the purging of emotions through vicarious living.

Second, there is the idea that there are six crucial elements of a tragedy (i.e. plot, character, diction, thought, spectacle, and song,) and that they are of importance in more or less that order. A good bit of the work is devoted to breaking down these elements. For example, with respect to plot, Aristotle writes at length about reversals and recognition (the moment a character discovers some key piece of information,) telling us a little about how these actions best work. With respect to character, Aristotle tells about the kind of character that generates the best story, and it’s the same advice one sees in writing books today that talk about flawed but good characters. Perfect characters are boring and bad characters get what they have coming in a tragedy.

I was surprised how relevant this book remains, considering that it’s perhaps the first extant book of literary theory. It’s definitely worth a read. At less than fifty pages (not including the ancillary material you’ll find with many editions) it’s a quick read, and while it’s a bit dry at times, it’s not brutal by any means. So, given its historic importance, give it a read.


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BOOK REVIEW: Introducing Aesthetics: A Graphic Guide by Christopher Kul-Want

Introducing Aesthetics: A Graphic Guide (Introducing...)Introducing Aesthetics: A Graphic Guide by Christopher Kul-Want
My rating: 4 of 5 stars

Amazon.in page

 

This volume is one in a large series of books that provide concise outlines of various subjects using graphics for support. In this case, it examines the philosophy of aesthetics. Aesthetics (the study of perception, sensation, and beauty) is a sub-discipline of axiology (the study of value), which – in turn – is a sub-discipline of philosophy.

The book consists of over one-hundred short (1 to 2 page) sections that present aesthetics from various angles. Some of that chapters focus on philosophers that had a particular impact on the subject, including: Plato, Aristotle, Aquinas, Kant, Hegel, Adorno, Nietzsche, Barthes, Derrida, and Lyotard. Others examine the approaches to evaluating aesthetics during various eras, including: ancient, medieval, Renaissance, the Enlightenment, Romance, Modern, Post-modern. Some define key terms, and others relate the subject to the broader human world. Still others relate the subject to other philosophical concepts, such as: reality, semiotics, or modes of governance and economy. There are sections that explore the subject’s classic questions, such as: “Are truth and beauty synonymous?” and “Should art have a purpose, and – if so – what?”

This entire series uses graphics as a support for the text. As with many of the books in the series, this volume mostly uses cartoon drawings that repeat key lessons from the text, sort of like an elaborate text-box. I can’t say that there was any point at which these graphics made anything easier to understand, but they don’t hurt either.

I found this book useful in getting a basic overview of the topic. There were times when it felt like it was straying from the topic of aesthetics, but I think that was just because so much of philosophy from post-modernism onwards looks at everything through a certain lens, regardless of whether such an examination seems particularly relevant or not (e.g. psychoanalysis, Marxism, etc.) [It’s interesting to think about “Communist Aesthetics” as the very term seems like an oxymoron. If you’ve ever seen the brutalist architecture or sculptures of Cold War Eastern Europe, you might conclude that the absence of aesthetic viewpoint was the prevailing Communist aesthetic viewpoint.] At any rate, while the book is not highly engaging reading, it’s a quick and concise outline of the subject (which is what it’s meant to be.)

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