Insane Psychedelic Snowball Fight From Adult Swim’s Superjail! (Video)

Insane Psychedelic Snowball Fight From Adult Swim's Superjail! (Video) | Third Monk image 2

A winter wonderland battle in Superjail! involves lasers, yetis, severed limbs, and getting your tongue stuck on a frozen co-worker’s boob.

Superjail! is Adult Swim’s look at the harsh reality of prison life. Superjail! is home to the worst criminals humanity has to offer, but their violence pales in comparison to the bubbly sadism of The Warden, who delights in inventing whimsical death machines to control his inmates.

Visit Adult Swim’s website to watch full episodes of Superjail!

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Comedians on Psychedelics (Video)

Comedians on Psychedelics (Video) | Third Monk image 1

00:10 – Doug Stanhope
05:07 – Joe Rogan
07:56 – Bill Hicks
13:22 – George Carlin
15:34 – Duncan Trussell

Comedians are good at describing stories in vivid, interesting ways. That’s what makes listening to these world-class comics share their psychedelic experiences so cool.

Featuring Doug Stanhope, Joe Rogan, Bill Hicks, George Carlin, and Duncan Trussell, Comedians on Psychedelics attempts to aid us in piercing the veil behind our illusory reality.

These are real people attempting to give their own piece of the experiential puzzle with as little distortion as the limits of language and memory allow. It’s not perfect, but besides first-hand psychedelic experience, it’s the best we’ve got.

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Trippy Psychedelic Films #2 (List)

Trippy Psychedelic Films #2 (List) | Third Monk image 4

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Fritz the Cat is a 1972 American animated comedy film written and directed by Ralph Bakshi, the film was the first animated feature film to receive an X rating in the United States.

It focuses on Fritz, an anthropomorphic feline in mid-1960s New York City who explores the ideals of hedonism and socio-political consciousness.

The film is a satire focusing on American college life of the era, race relations, the free love movement, and left and right-wing politics.

As far as animation goes it’s one of the trippiest movies ever.

 

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Pink Floyd The Wall is a 1982 British live-action/animated musical film directed by Alan Parker based on the 1979 Pink Floyd album, The Wall. The film is highly metaphorical and is rich in symbolic imagery and sound.

It features very little dialogue and is mainly driven by Pink Floyd’s music.

It depicts the construction and ultimate demolition of a metaphorical wall, alienation.

One of the best trippy movies ever.

 

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Enter the Void is a 2009 French film written and directed by Gaspar Noé, labeled by Noé as a “psychedelic melodrama”.

The story is set in Tokyo and focuses on Oscar, a young American drug dealer who gets shot by the police, but continues to watch over his sister Linda and the events which follow during an out-of-body experience, floating above Tokyo’s streets.

Noé had tried various hallucinogens in his youth and used those experiences as inspiration for the visual style.

Including one drug experience where he traveled to the Peruvian jungle to try Ayahuasca. The experience was very intense and Noé regarded it “almost like professional research.” 

This is purely a visual experience, don’t expect a great narrative – just trip out on the global neon candy-scapes.

 

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Altered States is a 1980 American science fiction film adaptation of a novel written by playwright and screenwriter Paddy Chayefsky. It was the only novel that he ever wrote, as well as his final film.

Both the novel and the film are based on John C. Lilly’s sensory deprivation research conducted in isolation tanks under the influence of psychoactive drugs like ketamine and LSD.

William Hurt plays Eddie Jessup, a scientist obsessed with discovering mankind’s true role in the universe. To this end, he submits himself to a series of mind-expanding experiments.

A dazzling film for its time.

 

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A cult classic by any definition, Terry Gilliam’s epic sci-fi film is a true dystopian satire. Brazil challenges known societal constructs.

Focusing on “satirizing the bureaucratic, largely dysfunctional industrial world that had been driving Gilliam crazy all his life” as Jack Matthews puts it.

It deserves a watch by all psychedelic lovers.

We’ll be back with another part of this series soon, I just have to watch some more psychedelic films!

Make sure to share your favorites below!

Top Psychedelic Movies | Psy Amb

Metamorphosis – Hunter S. Thompson Psychedelic Animation (Video)

Metamorphosis - Hunter S. Thompson Psychedelic Animation (Video) | Third Monk image 2

This trippy animation is loaded with visual references to the writings of Franz Kafka and Hunter S. Thompson.

The psychedelic piece of art was created by String Theory for online bookseller Good Books International that donates 100% of its profits to Oxfam, an organization that fights poverty.

We dug through the darkest recesses of our minds and studio to create original music and sound design for this masterpiece. Working with squirming, analog-tape leeches, moaning coeds, screaming guitar goats, and brain-exploding psychedelia, we were certainly in our element.

Plus, it’s always fun to rock out and get a little weird for a good cause! – String Theory

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books-2 Hunter S. Thompson

Trippy Psychedelic Films (List)

Trippy Psychedelic Films (List) | Third Monk image 1

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Fear and Loathing has one of the best trip scenes of any drug involved movie. The entire movie is pretty much one long drug-fueled crazy adventure.

The film has become a true cult smash and is sampled over and over again in popular culture from music, to art to just about anywhere psychedelic drugs are involved.

 

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A film that screams “product of its time,” The Holy Mountain was Alejandro Jodorowsky’s dizzying elegy to the sex, drugs and spiritual awakening of the late 1960s and early 1970s.

A Christ-like vagrant and thief wanders through a perverse and unfriendly land until he encounters an enlightened one, who gathers the thief and six of the world’s most powerful individuals for a spiritual pilgrimage. If you want to see the conquest of Mexico re-enacted by reptiles, soldiers shoot innocent people as birds fly from their wounds, and a wizard turn feces into gold, this is the movie for you.

The central members of the cast were said to have spent three months doing various spiritual exercises guided by Oscar Ichazo of the Arica Institute. The Arica training features Zen, Sufi and yoga exercises along with eclectic concepts drawn from the Kabbalah, the I Ching and the teachings of Gurdjieff.

After the training, the group lived for one month communally in Jodorowsky’s home before shooting began.

As far as trippy bizarre movies go – this takes the cake.

 

fantasia-1969 1940 – Over 7 decades ago, and still one of the top psychedelic animated films ever made. The third feature in the Walt Disney Animated Classics series, the film consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra.

Fantasia and mind enhancing drugs go together like peanut butter and jelly. These days it is quite popular to discover what music synchs with Fantasia. Much like people do with Pink Floyds’ music synched to the Wizard Of Oz. Disney jumped on the 60’s hippy style and re-imaged the movie in the late 60s with a very different promotional poster, which included magic mushrooms.

 

BEATLES YELLOW SUBMARINE COMIC POSTER - Trippy Stoner Films

Another music based film, Yellow Submarine is a 1968 British animated feature film based on the music of The Beatles. It is also the title for the soundtrack album to the feature film, released as part of The Beatles’ music catalog.

The film received a widely positive reception from critics and audiences alike. It is also credited with bringing more interest in animation as a serious art form.

The animation of Yellow Submarine has sometimes falsely been attributed to the famous psychedelic pop art artist of the era, Peter Max, but the film’s art director was Heinz Edelmann.

As far as classic animation goes its one of the best movies ever.

 

2001_una_odisea_en_el_espacio_8 2001 contains one of the most memorable trippy scenes to ever hit cinema screens. Doubly impressive when considering it was made with 1968 technology.

As the film climaxes, the main character takes a trip through deep space that involves the innovative use of slit-scan photography to create the stunning visual effects. Known to staff as “Manhattan Project”, the shots of various nebula-like phenomena, including the expanding star field, were colored paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow-motion in a dark room.

Kubrick’s epic masterpiece remains a stoner favorite.

We’ll be back with another part of this series soon, I just have to watch some more psychedelic films!

Add your favorites to the comments below.

> Top Psychedelic Movies | Psy Amb

Tibetan Sand Mandalas: Healing Through Sacred Art (Photo Gallery, Video)

Tibetan Sand Mandalas: Healing Through Sacred Art (Photo Gallery, Video) | Third Monk image 4

From all the artistic traditions of Tantric Buddhism, that of painting with colored sand ranks as one of the most unique and exquisite. Millions of grains of sand are painstakingly laid into place on a flat platform over a period of days or weeks to form the image of a mandala.

To date, the Drepung Loseling monks have created mandala sand paintings in more than 100 museums, art centers, and colleges and universities in the United States and Europe.

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Mandalas

The Tibetan mandala is a tool for gaining wisdom and compassion and generally is depicted as a tightly balanced, geometric composition wherein deities reside. The principal deity is housed in the center. The mandala serves as a tool for guiding individuals along the path to enlightenment.

Monks meditate upon the mandala, imagining it as a three-dimensional palace. The deities who reside in the palace embody philosophical views and serve as role models. The mandala’s purpose is to help transform ordinary minds into enlightened ones. Kalachakra-Sand-Mandala

The Sand Mandala

Mandalas constructed from sand are unique to Tibetan Buddhism and are believed to effect purification and healing. Typically, a great teacher chooses the specific mandala to be created. Monks then begin construction of the sand mandala by consecrating the site with sacred chants and music.

Next, they make a detailed drawing from memory. Over a number of days, they fill in the design with millions of grains of colored sand. At its completion, the mandala is consecrated. The monks then enact the impermanent nature of existence by sweeping up the colored grains and dispersing them in flowing water.

monks_05 Sand Mandala

How Mandalas Heal

According to Buddhist scripture, sand mandalas transmit positive energies to the environment and to the people who view them. While constructing a mandala, Buddhist monks chant and meditate to invoke the divine energies of the deities residing within the mandala. The monks then ask for the deities’ healing blessings. A mandala’s healing power extends to the whole world even before it is swept up and dispersed into flowing water—a further expression of sharing the mandala’s blessings with all.

The Tibetan mandalas are deceptively simple. They might look like they’re made up of basic patterns, but are extremely complex and might take weeks to complete. Buddhist monks undergo years of training before they can make a mandala. So before a mandala is made, a monk will spend time in philosophical and artistic study. Once a sufficient level of understanding has been reached, the mandala is created.

In the personal monastery of the Dalai Lama, the Nyamgal monastery, monks spend about three years studying before making the mandala.

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Sand Mandala Gallery

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> Tibetan Healing Mandalas | Prafulla

Animated Zen Series with Alan Watts, South Park Animation (Video)

Animated Zen Series with Alan Watts, South Park Animation (Video) | Third Monk image 4

We’ve featured one part of this series before, but now it’s time for the rest of the animated shorts.

The Zen series is animated by Matt Stone & Trey Parker and combined with transcendent audio taken from Alan Watts lectures.

The wisdom in Alan’s words shines through brightly as the audio is enhanced by the accompanying animation.

Alan Watts – Zen Series

I just want you to enjoy a point of view, which I enjoy. – Alan Watts

Alan Watts – The Myth of Myself (“Appling”)

You cannot get an intelligent organism such as a human being, out of an unintelligent universe. – Alan Watts

Alan Watts – Prickles and Goo

This natural universe is neither prickles nor goo exclusively, it’s gooey prickles and prickly goo! – Alan Watts

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Alan Watts – Madness

Both poetry and music lead us to the understanding of what this world is all about, which is, is a dance, a rhythm. – Alan Watts

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Alan Watts – I or Ego

I’ve always been tremendously interested in what people mean by the word “I”, because it comes out in curious lapses of speech. – Alan Watts

Zen Series - Don't ask, it just makes sense

Psychedelic Hand Made Mixed Media Collages – Joe Webb (Photo Gallery)

Psychedelic Hand Made Mixed Media Collages - Joe Webb (Photo Gallery) | Third Monk image 25

Joe Webb’s work eschews the neo-traditional standard of digital manipulation, opting to meticulously craft his psychedelic work by hand.

Sourcing two to three images at a time, Webb’s finished collages probe the unreality of modern-life, with an emphasis on his disdain for technology.

I started making these simple hand-made collages as a sort of luddite reaction to working as a graphic artist on computers for many years. I like the limitations of collage…using found imagery and a pair of scissors, there are no Photoshop options to resize, adjust colours or undo.

I suppose I’ve become fairly anti-technology… although I now promote my art on websites, own an iPhone and use Facebook…It’s confusing, I wish I had been born 100 years ago. – Joe Webb

Joe Webb – Surreal Hand Made Mixed Media Collages Gallery

 Thirst

Thirst

Thirst II

Thirst II

Storm in a Tea Cup

Storm in a Tea Cup

Room with a View

Room with a View

International Response

International Response

Armageddon

Armageddon

What a Lovely Day

What a lovely day

Twelve O’Clock

Twelve O'Clock

The Chill

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Juxtapose

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Infatuated

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Star Dust

Antares and Love II

Star Dust II

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Sunny Side Up

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Playing God

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Small Steps

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Seaside

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Calm and Chaos

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Comfort

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Star Dust III

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Star Dust IV

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Star Dust V

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Wonder Basket

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Sunny Day

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Plough

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Harvest

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Spoiled View

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Everything is Fine

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Art School

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Distraction

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Cuts

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Time Storage

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Joe Webb Collages

A selection of work from UK based collage artist Joe Webb.

Beauty – Classical Paintings Are Brought To Life With Animation (Video)

Beauty - Classical Paintings Are Brought To Life With Animation (Video) | Third Monk image 1

In this amazing animation by Rino Stefano Tagliafierro, the beauty of classical paintings is brought to life from the immobility of canvas, using the 2.5D effect; creating a sentiment lost to the masterpieces.

Over Beauty, there has always hung the cloud of destiny and all-devouring time.

Beauty has been invoked, re-figured and described since antiquity as a fleeting moment of happiness and the inexhaustible fullness of life, doomed from the start to a redemptive yet tragic end.

Its as though these images which the history of art has consigned to us as frozen movement can today come back to life thanks to the fire of digital invention.

A series of well selected images from the tradition of pictorial beauty are appropriated, (from the renaissance to the symbolism of the late 1800s, through Mannerism, Pastoralism, Romanticism and Neo-classicism) with the intention of retracing the sentiment beneath the veil of appearance.

They are, from the inception of a romantic sunrise in which big black birds fly to the final sunset beyond gothic ruins that complete the piece, a work of fleeting time. – The Enigma of Beauty

Asher Brown Durand – The Catskill Valley‬

Thomas Hill – Emerald Bay, Lake Tahoe

Albert Bierstadt – Among the Sierra Nevada Mountains

Ivan Shishkin – Forest edge

James Sant – Frau und Tochter‬

William Adolphe Bouguereau – L’Innocence

William Adolphe Bouguereau – Song of the Angels

Ivan Shishkin – Bach im Birkenwald

William Adolphe Bouguereau – Le Baiser

William Adolphe Bouguereau – Nature’s Fan- Girl with a Child

William Adolphe Bouguereau – The Motherland

Ivan Shishkin – Morning in a Pine Forest

William Adolphe Bouguereau – The Nut Gatherers

William Adolphe Bouguereau – Two Sisters

William Adolphe Bouguereau – Not too Much to Carry

Thomas Cole – The Course of Empire: Desolation

Martinus Rørbye – Entrance to an Inn in the Praestegarden at Hillested

William Adolphe Bouguereau – Sewing

William Adolphe Bouguereau – The Difficult Lesson

William Adolphe Bouguereau – The Curtsey

William Adolphe Bouguereau – Little Girl with a Bouquet

Claude Lorrain – Pastoral Landscape

William Adolphe Bouguereau – Cupidon

William Adolphe Bouguereau – Admiration

William Adolphe Bouguereau – A Young Girl Defending Herself Against Eros

William Adolphe Bouguereau – Dawn

William Adolphe Bouguereau – L’Amour et Psych

William Adolphe Bouguereau – Spring Breeze

William Adolphe Bouguereau – The Invation

William Adolphe Bouguereau – Nymphs and Satyr

William Adolphe Bouguereau – The Youth of Bacchus

William Adolphe Bouguereau – The Birth of Venus

William Adolphe Bouguereau – The Nymphaeum

Gioacchino Pagliei – Le Naiadi

Luis Ricardo Falero – Faust’s Dream

Luis Ricardo Falero – Reclining Nude

Jules Joseph Lefebvre – La Cigale

John William Godward – Tarot of Delphi

Jan van Huysum – Bouquet of Flowers in an Urn

Adrien Henri Tanoux – Salammbo

Guillaume Seignac – Reclining Nude

Tiziano – Venere di Urbino

Louis Jean François Lagrenée – Amor and Psyche

Correggio – Giove e Io

François Gérard – Psyché et l’Amour

John William Godward – Contemplatio

John William Godward – Far Away Thought

John William Godward – An Auburn Beauty

William Adolphe Bouguereau – Flora And Zephy

Louis Jean François Lagrenée – Mars and Venus, Allegory of Peace

Fritz Zuber-Bühle – A Reclining Beauty

Paul Peel – The Rest

Guillaume Seignac – L’Abandon

Victor Karlovich Shtemberg – Nu à la peau de bete

Pierre Auguste Cot – Portrait Of Young Woman

Ivan Shishkin – Mast Tree Grove

Ivan Shishkin – Rain in an oak forest

William Adolphe Bouguereau – Biblis

William Adolphe Bouguereau – Elegy

Marcus Stone – Loves Daydream End

William Adolphe Bouguereau – Head Of A Young Girl

Hugues Merle – Mary Magdalene in the Cave

Andrea Vaccaro – Sant’Agata

Jacques-Luois David – Accademia (o Patroclo)

Michelangelo Merisi da Caravaggio – San Giovanni Battista

Roberto Ferri – In Nomine Deus

Michelangelo Merisi da Caravaggio – Cristo alla colonna

Michelangelo Merisi da Caravaggio – Incoronazione di spine

Paul Delaroche – L’Exécution de lady Jane Grey en la tour de Londres, l’an 1554

Michelangelo Merisi da Caravaggio – Decollazione di San Giovanni Battista

Michelangelo Merisi da Caravaggio – Sacrificio di Isacco

Guido Reni – Davide e Golia

Michelangelo Merisi da Caravaggio – Giuditta e Oloferne

Michelangelo Merisi da Caravaggio – Davide e Golia

Michelangelo Merisi da Caravaggio – Salomè con la testa del Battista

Michelangelo Merisi da Caravaggio – Davide con la testa di Golia

Jakub Schikaneder – All Soul’s Day

Michelangelo Merisi da Caravaggio – San Gerolamo scrivente

Guido Reni – San Gerolamo

Pieter Claesz – Vanitas

Gabriel von Max – The Ecstatic Virgin Anna Katharina Emmerich

William Adolphe Bouguereau – Portrait of Miss Elizabeth Gardner

Jan Lievens – A young girl

Johannes Vermeer – Portrait of a Young Girl

Luis Ricardo Falero – Moonlit Beauties

Joseph Rebell – Burrasca al chiaro di luna nel golfo di Napoli

Luis Ricardo Falero – Witches going to their Sabbath

William Adolphe Bouguereau – Dante And Virgil In Hell

Théodore Géricault – Cheval arabe gris-blanc

Peter Paul Rubens – Satiro

Felice Boselli – Skinned Head of a Young Bull

Gabriel Cornelius von Max – Monkeys as Judges of Art

Michelangelo Merisi da Caravaggio – Medusa

Luca Giordano – San Michele

Théodore Géricault – Study of Feet and Hands

Peter Paul Rubens – Saturn Devouring His Son

Ilya Repin – Ivan il Terribile e suo figlio Ivan

Franz von Stuck – Lucifero Moderno

Gustave Doré – Enigma

Arnold Böcklin – Die Toteninsel (III)

Sophie Gengembre Anderson – Elaine

John Everett Millais – Ophelia

Paul Delaroche – Jeune Martyre

Herbert Draper – The Lament for Icarus

Martin Johnson Heade – Twilight on the St. Johns River

Gabriel Cornelius von Max – Der Anatom

Enrique Simonet – Anatomía del corazón

Thomas Eakins – Portrait of Dr. Samuel D. Gross (The Gross Clinic)

Rembrandt – Lezione di anatomia del dottor Tulp

Peter Paul Rubens – Die Beweinung Christi

Paul Hippolyte Delaroche – Die Frau des Künstlers Louise Vernet auf ihrem Totenbett

Elizabeth Jane Gardner Bouguereau – Too Imprudent

William-Adolphe Bouguereau – The Prayer

Michelangelo Merisi da Caravaggio – Amorino dormiente

Augustin Théodule Ribot – St. Vincent (of Saragossa)

Caspar David Friedrich – Abtei im eichwald

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Gabriel_Cornelius_von_Max,_1840-1915,_Monkeys_as_Judges_of_Art,_1889

Plato’s Allegory of the Cave Animation and Analysis (Video)

Plato's Allegory of the Cave Animation and Analysis (Video) | Third Monk image 2

Animation based on ‘The Allegory of the Cave’ by Greek philosopher Plato, in his work The Republic.

Speaking are Socrates and Glaucon. Socrates begins.

Behold! human beings living in an underground den, which has a mouth open towards the light and reaching all along the den; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see before them, being prevented by the chains from turning round their heads. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised way; and you will see, if you look, a low wall built along the way, like the screen which marionette players have in front of them, over which they show the puppets.
I see.

And do you see, I said, men passing along the wall carrying all sorts of vessels, and statues and figures of animals made of wood and stone and various materials, which appear over the wall? Some of them are talking, others silent.

You have shown me a strange image, and they are strange prisoners.

Like ourselves, I replied; and they see only their own shadows, or the shadows of one another, which the fire throws on the opposite wall of the cave?

True, he said; how could they see anything but the shadows if they were never allowed to move their heads?

And of the objects which are being carried in like manner they would only see the shadows?

Yes, he said.

And if they were able to converse with one another, would they not suppose that they were naming what was actually before them?

Very true.

And suppose further that the prison had an echo which came from the other side, would they not be sure to fancy when one of the passers-by spoke that the voice which they heard came from the passing shadow?

No question, he replied.

To them, I said, the truth would be literally nothing but the shadows of the images.

That is certain.

And now look again, and see what will naturally follow if the prisoners are released and disabused of their error. At first, when any of them is liberated and compelled suddenly to stand up and turn his neck round and walk and look towards the light, he will suffer sharp pains; the glare will distress him, and he will be unable to see the realities of which in his former state he had seen the shadows; and then conceive some one saying to him, that what he saw before was an illusion, but that now, when he is approaching nearer to being and his eye is turned towards more real existence, he has a clearer vision,–what will be his reply? And you may further imagine that his instructor is pointing to the objects as they pass and requiring him to name them,–will he not be perplexed? Will he not fancy that the shadows which he formerly saw are truer than the objects which are now shown to him?

Far truer.

And if he is compelled to look straight at the light, will he not have a pain in his eyes which will make him turn away to take refuge in the objects of vision which he can see, and which he will conceive to be in reality clearer than the things which are now being shown to him?

True, he said.

And suppose once more, that he is reluctantly dragged up a steep and rugged ascent, and held fast until he is forced into the presence of the sun himself, is he not likely to be pained and irritated? When he approaches the light his eyes will be dazzled, and he will not be able to see anything at all of what are now called realities.

Not all in a moment, he said.

He will require to grow accustomed to the sight of the upper world. And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves; then he will gaze upon the light of the moon and the stars and the spangled heaven; and he will see the sky and the stars by night better than the sun or the light of the sun by day?

Certainly.

Last of all he will be able to see the sun, and not mere reflections of him in the water, but he will see him in his own proper place, and not in another; and he will contemplate him as he is.

Certainly.

He will then proceed to argue that this is he who gives the season and the years, and is the guardian of all that is in the visible world, and in a certain way the cause of all things which he and his fellows have been accustomed to behold?

Clearly, he said, he would first see the sun and then reason about him.

And when he remembered his old habitation, and the wisdom of the den and his fellow-prisoners, do you not suppose that he would felicitate himself on the change, and pity them?

Certainly, he would.

And if they were in the habit of conferring honors among themselves on those who were quickest to observe the passing shadows and to remark which of them went before, and which followed after, and which were together; and who were therefore best able to draw conclusions as to the future, do you think that he would care for such honors and glories, or envy the possessors of them? Would he not say with Homer,

Better to be the poor servant of a poor master, and to endure anything, rather than think as they do and live after their manner? (1)

Yes, he said, I think that he would rather suffer anything than entertain these false notions and live in this miserable manner.

Imagine once more, I said, such a one coming suddenly out of the sun to be replaced in his old situation; would he not be certain to have his eyes full of darkness?

To be sure, he said.

And if there were a contest, and he had to compete in measuring the shadows with the prisoners who had never moved out of the den, while his sight was still weak, and before his eyes had become steady (and the time which would be needed to acquire this new habit of sight might be very considerable), would he not be ridiculous? Men would say of him that up he went and down he came without his eyes; (2)and that it was better not even to think of ascending; and if any one tried to loose another and lead him up to the light, let them only catch the offender, and they would put him to death. (3)

No question, he said.

This entire allegory, I said, you may now append, dear Glaucon, to the previous argument; the prison-house is the world of sight, the light of the fire is the sun, and you will not misapprehend me if you interpret the journey upwards to be the ascent of the soul into the intellectual world according to my poor belief, which, at your desire, I have expressed–whether rightly or wrongly God knows. But whether true or false, my opinion is that in the world of knowledge the idea of good appears last of all, and is seen only with an effort; and, when seen, is also inferred to be the universal author of all things beautiful and right, parent of light and of the lord of light in this visible world, Here Plato describes his notion of God in a way that was influence profoundly Christian theologians. and the immediate source of reason and truth in the intellectual; and that this is the power upon which he would act rationally either in public or private life must have his eye fixed.

I agree, he said, as far as I am able to understand you.

Moreover, I said, you must not wonder that those who attain to this beatific vision are unwilling to descend to human affairs; for their souls are ever hastening into the upper world where they desire to dwell; which desire of theirs is very natural, if our allegory may be trusted.

Yes, very natural.

And is there anything surprising in one who passes from divine contemplations to the evil state of man, misbehaving himself in a ridiculous manner; if, while his eyes are blinking and before he has become accustomed to the surrounding darkness, he is compelled to fight in courts of law, or in other places, about the images or the shadows of images of justice, and is endeavoring to meet the conception of those who have never yet seen absolute justice?

Anything but surprising, he replied.

Any one who has common sense will remember that the bewilderments of the eyes are of two kinds, and arise from two causes, either from coming out of the light or from going into the light, which is true of the mind’s eye; and he who remembers this when he sees any one whose vision is perplexed and weak, will not be too ready to laugh; he will first ask whether that soul of man has come out of the brighter life, and is unable to see because unaccustomed to the dark, or having turned from darkness to the day is dazzled by excess of light. And he will count the one happy in his condition and state of being, and he will pity the other; or, if he have a mind to laugh at the soul which comes from below into the light, there will be more reason in this than in the laugh which greets him who returns from above out of the light into the den.

That, he said, is a very just distinction.

But then, if I am right, certain professors of education must be wrong when they say that they can put a knowledge into the soul which was not there before, like sight into blind eyes.

They undoubtedly say this, he replied.

Whereas our argument shows that the power and capacity of learning exists in the soul already; and that just as the eye was unable to turn from darkness to light without the whole body, so too the instrument of knowledge can only by the movement of the whole soul be turned from the world of becoming into that of being, and learn by degrees to endure the sight of being and of the brightest and best of being, or in other words, of the good.

Translated by Benjamin Jowett (Source: Oswego)

Our nature in its education and want of education. – Plato

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