The famous Allegory of the Cave, originally by Plato; "where Plato lets Socrates describe a group of people who have lived chained to the wall of a cave all of their lives, facing a blank wall. The people watch shadows projected on the wall by things passing in front of a fire behind them, and begin to ascribe forms to these shadows. According to Plato's Socrates, the shadows are as close as the prisoners get to viewing reality. He then explains how the philosopher is like a prisoner who is freed from the cave and comes to understand that the shadows on the wall do not make up reality at all, as he can perceive the true form of reality rather than the mere shadows seen by the prisoners."
SOURCE: http://en.wikipedia.org/wiki/Allegory_of_the_Cave
The allegory of the Cave is another example of how we interpreted our lives. We often believe that everything, every time and anywhere is a reality. The simplest example given in this story is where humans are chained and they thought the shadows in front of them really exists is actually what humans are facing in real world without realising it.
These objects are the main element in a story:
1. The prisoner.
Represent ourselves in this world.
2. The chains.
What binds us.
3. The fire.
The source of our life in the first place.
4. The shadows and the images.
The lies/illusions.
5. The puppet players.
Who controls us.
6. The old man.
Our savior.
My example of Plato's Cave, is from a movie called The Legend of 1900. The prisoner would be Danny Boodmann T.D. Lemon Nineteen Hundred '1900' (Tim Roth). The chains would be his life in the ship. As for the fire is how 1900 grew up as an orphan. The shadows is the other side of reality (the land). The puppet player is 1900 own perspective and lastly the old man would be 1900's best friend, Max Tooney (Pruitt Taylor Vince).
It is very nice movie talking about the limits in life. Here is a monologue from the movie that I'd like to share.
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The Legend of 1900
written by Giuseppe Tornatore, from a monologue by Alessandro Baricco
Nineteen Hundred: All that city. You just couldn't see the end to it. The end? Please? You please just show me where it ends? It was all very fine on that gangway. And I was grand too, in my overcoat. I cut quite a figure. And I was getting off. Guaranteed. It wasn't what I saw that stopped me, Max. It was what I didn't see. You understand that? What I didn't see. In all that sprawling city there was everything except an end. There was no end. What I did not see was where the whole thing came to an end. The end of the world...
Take a piano. The keys begin, the keys end. You know there are eighty-eight of them, nobody can tell you any different. They are not infinite. You are infinite. And on these keys the music that you can make is infinite. I like that. That I can live by.
You get me up on that gangway and you're rolling out in front of me a keyboard of millions of keys, millions and billions of keys that never end, and that's the truth, Max. That they never end. That keyboard is infinite. And if that keyboard is infinite, then on that keyboard there is no music you can play. You're sitting on the wrong bench. That's God's piano.
All that world is weighing down on me, you don't even know where it comes to an end, and aren't you ever just scared of breaking apart at the thought of it? The enormity of living it.
I was born on this ship. And the world passed me by. But two thousand people at a time, and there were wishes here, but never more than fit between prow and stern. You played out your happiness, but on a piano that was not infinite. I learned to live that way. Land? Land is a ship too big for me. It's a woman too beautiful; a voyage too long, a perfume too strong. It's a music I don't know how to make. I could never get off this ship. At best, I can step off my life. After all, I don't exist for anyone. You're an exception, Max, you're the only one who knows I'm here. You're a minority, and you better get used to it.
Forgive me, my friend, but I'm not getting off.