Literature and Virtue in Sidneys Apology for Poetry Essay

Literature and Virtue in Sidneys Apology for Poetry In An Apology for Poetry Sir Philip Sidney attempts to reassert the fundamental importance of literature to society in general as well as to other creative and intellectual endeavors. Though Sidneys work does provide a synthesis (and in some cases an aberration) of much Greek and Roman literary theory, his argument aspires to go beyond an esoteric academic debate. Literature can teach and delight in a manner which other methods of communication do not possess (138). The moral/ethical impact any literary text has upon a reader is of paramount importance to Sidney. The argument Sidney presents and develops is built around the assumption that literature has the capacity†¦show more content†¦Where philosophy deals solely with the universal, history is consumed with the particular. Literature is able to deal with the same abstract moral/ethical (universal) concepts with which philosophy grapples by providing examples rooted in concrete, albeit fictionalized, details. History is too concerned with the accurate recording of facts to make any conjectures on such broad, less substantiated concepts. Literature exists between and above history and philosophy because the knowledge it conveys (knowledge of the good) is the best and most useful knowledge that exists. As Sidney states, no learning is so good as that which teacheth and moveth to virtue, and that none can both teach and move thereto so much as poetry (149). Sidney attempts to provide an utterly rational foundation for his claims, however. He develops a systematic analysis of the mechanisms employed by literature to teach virtue. He sorts literature according to its works and its parts. The works of a literary text can be seen in four specific ethical effects which it should seek to elicit in a reader. Sidney defines these four as: the purifying of wit, enriching of memory, enabling of judgement, and enlarging of conceit (139). In order to purify theShow MoreRelated Apology for Poetry Essay1900 Words   |  8 PagesAn â€Å"Apology for Poetry† is a compelling essay refuting the attack on poetry by Puritan and fundamentalist Stephen Gosson. This complex article written by Sir Phillip Sidney represents the decisive rebuttal defending poetry. His strong emotive passages defend the uncongenial comments of poetry from Gosson. Although, his justification for the rebuttal is alluded to Gosson’s durable attacks on poetry; it is known Gosson’s remarks prompt Sidney’s attitude to defend not only against Gosson but as wellRead MoreThe Defense of Poetry and An Apology for Poetry2888 Words   |  11 Pageslater, Sidney’s essay, known as both The Defense of Poetry and An Apology For Poetry, stands as one of the most enduring writings on the merits of poetry and was highly influential upon the views of the period. Written, partially as a response to Stephen Gosson’s ‘Schoo l of Abuse’ and wider challenges to poetry, such as those of Plato. COULD SAY MORE SPECIFICALLY WHAT CHALLENGES HE IS RESPONDING TO HERE The essay operates under the central premise that the highest function of literature is toRead MoreAn Apology for Poetry by Sir Philip Sidney2943 Words   |  12 PagesRichard L. W. Clarke LITS2002 Notes 01 1 SIR PHILIP SIDNEY, AN APOLOGY FOR POETRY (1595) Sidney, Sir Philip. â€Å"An Apology for Poetry.† Critical Theory Since Plato. Ed. Hazard Adam s. New York: Harcourt, Brace, Jovanovich, 1971. 143-162. Sidney’s argum ent is divided into several sections and subsections. In order to m ake sense of this im m ensely long but im portant essay, you should read those sections m arked by an asterisk (*) below and in the order given: 1. From â€Å"Now then we go to the m ostRead MoreSidney Defends The Worth Of Poetry2624 Words   |  11 PagesSidney defends the worth of poetry by presenting us with a long defense written to William Ponsonby, a very popular publisher of the Elizabethan era. Sidney breaks his argument down into eight sections, each one arguing another point as to why poetry is worthy and should not be thought of as sub-par literature. His arguments are thorough, leaving no gaps between thoughts, and very persuasive in both content and style. I believe his argument is both successful and thorough, covering everything thatRead MoreSir Philip Sidney and an Analysis of Six of his Poems Essay4370 Words   |  18 PagesQueen was not as confident in his reply as in the re plies from other representatives. Philip continued in politics and entertained foreign visitors and diplomats. Philip was quite intelligent, and was able to discuss chemistry, science, art, literature, poetry, law, religion, history, politics and military with ease. In 1579 Sir Philip Sidney composed a letter to Queen Elizabeth, opposing her marriage to the Duke of Anjou. The Queen was said to have shed tears upon the reading of this letter, however

Pressure Free Essays

Pressure Definition of Pressure Fluid pressure: Force per unit area exerted by a fluid in a solid wall. Force acts perpendicularly to the surface in contacts. Fluid is a co u d s common word for gas a d/o liquid. We will write a custom essay sample on Pressure or any similar topic only for you Order Now o od o and/or qu d Pressure is a scalar quantity. It has the units of: N/m2 or Pa (or kPa) in SI system of units psi in Imperial system of units Pressure can also be expressed in terms of height of a column of liquid List of units of pressure measurements conversion of units Pascal s Pascal’s law Scalar quantity Units of Pressure SM(2) Pressure Pressure measurements Absolute pressure Gauge Pressure †¦ divided into three different categories: 1. Absolute pressure – which is defined as the absolute value o pressure (force-per-unit-area) ac g o of p essu e ( o ce pe u a ea) acting on a surface by a fluid. su ace ud Abs. pressure = pressure at a local point of the surface due to fluid – absolute zero of pressure (see page 63 of lecture notes) 2. Gauge pressure – difference between abs. pressure and atmospheric pressure – is always positive 101. 325 kPa or 14. 7 psi Equations Pressure term relationships a –ve gauge pressure is vacuum ve vacuum. Pressure term relationships †¢ Abs pressure = gauge pressure + atm pressure Abs. †¢ Abs. pressure = – gauge pressure + atm pressure (vacuum) gt; atm lt; atm SM(3) Pressure Pressure measurements Relation between abs. , gauge and vacuum Absolute pressure Gauge Pressure gauge Equations gauge) Pressure t erm relationships SM(4) Pressure Pressure term relationships Hydrostatic pressure 3. Differential pressure – measurement of an unknown pressure minus the reference to a o e u e e e ce o another unknown p essu e o pressure. – it is used to measure differential pressure i. . pressure drop (? P) in a fluid system SM(5) Fluid systems and Fluid pressures Fluid systems Two types of fluid systems: 1. Static system – in which fluid is at rest Fluid pressures Pressure measured i thi system i called static pressure P d in this t is ll d t ti Static pressure system s stem ‘’The pressure at a given depth in a static liquid is The due to its own weight acting on unit area at that depth plus external pressure acting on the surface o the qu d of t e liquid’’ Gauge pressure = ? gh – which i d hi h is dependent j t only on fl id d d t just l fluid density ( ) it (? and distance between below the surface of the liquid h. External pressure – is generally the atmospheric pressure SM(6) Fluid systems and Fluid pressures Fluid systems Fluid pressures Example: A hydraulic pump used to lift a car: when a small force f is applied to a small area a of a movable piston it creates a pressure P = f/a. This pressure is transmitted to and acts on a larger movable piston of area A which is then used to lift a car. Static pressure p Lesson: Pressure along the horizontal line always remains the same for uniform singly fluid SM(7) Fluid systems and Fluid pressures Fluid systems Fluid pressures Example: If the height of the fluid’s surface above the bottom of the five fluid s vessels is the same, in which vessel is the pressure of the fluid on the bottom of the vessel the greatest ? The amount of liquid in each vessel is not necessarily the same. y Answer: The pressure P is the same on the bottom of each vessel. Gauge pressure =F Force/Area /A = ? (hA)g/A = ? gh ‘’For gases: the pressure increase in the fluid due to increase in height is negligible because the density (thus, weight) of the fluid is relatively much smaller compared to the pressure being applied to the system’’. In other words, p = ? gh shows pressure is independent of the fact that the wt. of liquid in each vessel is different. This situation is referred to SM(8) as HYDROSTATIC PARADOX. Static pressure p Fluid systems and Fluid pressures Pressure term relationships Two types of fluid systems: 2. Dynamic pressure system Dynamic pressure system – more complex and diffi lt t measure l d difficult to – pressure measured in this system is called dynamic pressure – three terms are defined here 1. static pressure, 2. dynamic p p y pressure 3. total pressure SM(9) Fluid systems and Fluid pressures Dynamic pressure system Pitot tube Total pressure/Stagn p g ation press. Steady-state dynamic systems – Static pressure can be measured accurately by tapping into the fluid s ea (po A) e u d stream (point ) – total pressure (or stagnation pressure) can be measured by inserting Pitot tube into the fluid stream (point B) –;gt; total pressure (or stagnation pressure) = static pressure+ dynamic pressure SM(10) Fluid systems and Fluid pressures Dynamic pressure system Pitot tube Total pressure/Stagn p g ation press. SM(11) Problems 1. The diameters of ram and plunger of an hydraulic press are 200 mm and 30 mm, respectively. Find the weight by the hydraulic press when the force applied at the plunger is 400 N. Solution: Diameter of the ram, D = 200 mm = 0. 2 m Dia. of plunger, d = 30 mm = 0. 03 m p g , Force on the plunger, F = 400 N Load lifted, W: Area of ram, A = (pi/4)*D2 = 0. 0314 m2 Since the intensity of pressure will be Area of plunger, equally transmitted (due to Pascal’s Pascal s 4 a= ( i/4)*d2 = 7 068 * 10-4 m2 (pi/4)*d 7. 068 law), therefore the intensity of Intensity of pressure due to plunger, pressure at the ram is also = p = 5. 66 * 10-5 N/m2 p = F/a = 400 / 7. 068 * 10-4 But the intensity of pressure at the = 5. 6 * 105 N/m2 ram = Weight /Area of ram = W/A = Therefore, W/0. 0314 = 5. 66 * 10-5 W/0. 0314 or W = 17. 77 * 103 N = 17. 77 kN SM(12) Problems 2. For the hydraulic jack shown here find the load lifted by the large piston when a force of 400 N is applied on the small piston. Assume the specific weight of th li id i th j k i 9810 N/ 3. i ht f the liquid in the jack is N/m So lution: Diameter of small piston, d = 30 mm = 0. 03 m Area of small piston, piston a= (pi/4)*d2 = 7. 068 * 10-4 m2 Pressure intensity transmitted to the Diameter of large piston, D = 0. 1 m large piston, 5. 89 * 105 N/m2 Force on the large piston = Pressure intensity * area of large piston 5. 689 * 105 * 7. 854 * 10-3 = 4468 N Area of large piston, A = (pi/4)*D2 = 7. 854 * 10-3 m2 Force on small piston, F = 400 N F ll i t Hence, load lifted by the large piston = 4468 N Load lifted, W: Pressure intensity on small piston, p = F/a = 400 / 7. 068 * 10-4 = 5. 66 * 105 N/m2 Pressure at section LL LL, pLL = F/a + pressure intensity due to height of 300 mm of liquid = F/a + ? gh = 5. 66 * 105 + 9810 * 300/1000 = 5. 689 * 105 N/m2 SM(13) Problems 3. A cylinder of 0. 25 mm dia. and 1. m height is fixed centrally on the top of a large cylinder of 0. 9 m dia. and 0 8 m h i ht B th th cylinders d 0. 8 height. Both the li d are filled with water. Calculate (i) Total pressure at the bottom of the bigger cylinder and cylinder, (ii) Wt. of total vol. of water What is the HYDROSTATIC From the calculations it may b e observed that PARADOX between the two results? the total pressure force at the bottom of the cylinder is greater than the wt. of total volume Solution: Area at the bottom, of water contained in the cylinders. A = (pi/4)*0. 92 = 0. 6362 m2 (p ) This is hydrostatic paradox paradox. Intensity of pressure at the bottom p = rgh = 19620 N/m2 Wt. of total vol. of water contained Total pressure force at the bottom in the cylinders, y P = p*A = 19620 * 0. 6362 = W = rgh * volume of water 12482 N = 9810 ((pi/4)*0. 92 *0. 8 *(pi/4) *0. 252*1. 4) SM(14) = 5571 N References †¢Transport Phenomena by Bird, Stewart, Lightfoot †¢Fluid Mechanics and Hydraulic machines by R K Rajput R. K. †¢http://www. freescale. com/files/sensors/doc/app_note/AN1573. pdf (18 F 10) †¢http://www. ac. wwu. edu/~vawter/PhysicsNet/Topics/Pressure/Hydro Static. html (18 F 10) SM(15) How to cite Pressure, Papers

Spatial Imagery in Borges free essay sample

â€Å"Reality is not always probable, or likely† (Borges), this quote from Jorge Luis Borges, a perfect example of what makes Collected Fictions mysterious and entertaining to read. His readings are not superficial, and must be taken by critical thought and completely different modes of thinking. Borges’ stories use many techniques to express his messages. In select fictions, the idea of geometry, which is simple and exact, is used to convey themes of infinity and perceiving reality, which are hardly exact at all. Whether Borges uses hexagons to explain a concept of infinity and God, or rhombi and labyrinths to prove an order to chaos, these fictions let the reader explore his perplexing and ambiguous philosophy through ideas of spatial imagery. The story Death and the Compass deals with spatial imagery in two ways, one being with geometric rhombi, and the other is the reader’s idea of labyrinths. A rhombus is used in this story to specifically draw the main character strait to the criminal. Borges mentions the rhombus for the purpose of simplifying the story into something that makes sense; the crimes of the story fit into a perfect, known shape. â€Å"I knew you would add the missing point, the point that makes a perfect rhombus, the point that fixes the place where a precise death awaits you† (p. 156). The end of the story proves that the simple idea is not that simple at all, it all represents how this logical order of crimes brings the protagonist to a chaotic sense of himself because of the elaborate scheme that brings him to his own demise, which becomes part of the order. The other way Death and the Compass deals with spatial imagery is the way Borges lets the reader picture what a labyrinth should look like. Labyrinths are a recurring theme in a lot of Borges’ works, but in this particular story the villain sets up a labyrinth inside the main character’s head to set him up. â€Å"†The next time I kill you,† Scharlach replied, â€Å"I promise you the labyrinth that consists of a single straight line that is invisible and endless†Ã¢â‚¬  (p. 56). This I see as spatial imagery because the reader has to decide what kind of labyrinth the protagonist is caught in, the picture is unclear. This quote suggests that there are many realities, and Borges may mean that every individual is caught in a labyrinth of perception that they cannot escape from. What one may seem as a truth may not be even close to what is real. Borges does not just use this concept in Death and the Compass, but in many of his works. The Library of Babel is another piece of well-constructed art using visual metaphors bound with ideas of infinity, God, and unachievable realities. To describe the universe, Borges sets a picture of hexagons attached to more hexagons that make up a library and that continue forever. â€Å"I declare that the Library is endless. Idealists argue that the hexagonal rooms are the necessary shape of absolute space, or at least of our perception of space† (p. 112-113). This quote suggests that Borges believes the universe is infinite, but in a very concrete way. He uses a very unique technique in allowing an unimaginable theme of infinity is described in the very real idea or a hexagon, a finite thing. A hexagon is only a hexagon if it follows certain rules, but infinity has no rules. The hexagons are the order of the universe; it is not just open space, which means there must be a builder of the hexagons. So does this mean Borges believes in a creator, or God in his own philosophy? â€Å"Mystics claim that their ecstasies reveal to them a circular chamber containing an enormous circular book with a continuous spine that goes completely around the walls. But their testimony is suspect, their words obscure. That cyclical book is God. † (p. 113) In this quote, Borges reinforces the idea of a creator as God. It seems that this creator is the master book in the giant library of books that holds everything in. The books that are held in the hexagons of life also point to an interesting idea, â€Å"the Library is â€Å"total†-perfect, complete, and whole- and that its bookshelves contain all possible combinations of twenty-two orthographic symbols† (p. 15), Borges mentions these books because although every combination possible is presented, even if unconceivable to human thought, is still only a finite number. This is an absolute contradiction of the idea of infinite hexagons with books in them. Still another problem arisen by this quotation is that there seems to be no evidence of a creator if every single book in the library is of all possibilities, but these messages expressed in these books have to be endless. Man searching for his purpose in the universe, then is meaningless, and this argument is all because of spatial imagery Borges uses with hexagons. Borges is a mastermind at manipulating the reader’s thoughts into traveling in many directions on the roller coaster of imagination. In Death and the Compass the story leads the reader in a logical direction with spatial imagery and explains alternate reality through labyrinths, and hexagons represent the idea of an infinite universe with the ambiguous existence of a creator in Library of Babel. The technique of spatial imagery can be endless and the messages that are found can be argued and lead to more questions than answers, but the next time I write this essay, all the answers will be revealed to you.