● Thistle
Thistle is the common name of a group of flowering plants characterized by leaves with sharp prickles on the margins, mostly in the family Asteraceae. Prickles often occur all over the plant – on surfaces such as those of the stem and flat parts of leaves. These are an adaptation that protects the plant against herbivorous animals, discouraging them from feeding on the plant. Typically, an involucre with a clasping shape of a cup or urn subtends each of a thistle's flowerheads.
The term thistle is sometimes taken to mean exactly those plants in the tribe Cynareae (synonym: Cardueae), especially the genera Carduus, Cirsium, and Onopordum. However, plants outside this tribe are sometimes called thistles, and if this is done thistles would form a polyphyletic group.
Thistle is the floral emblem of Scotland, as well as the emblem of the Encyclopaedia Britannica.
Henry John Deutschendorf, Jr. (December 31, 1943 – October 12, 1997), known professionally as John Denver, was an American singer-songwriter, actor, activist and humanitarian, whose greatest commercial success was as a solo singer, starting in the 1970s. He was one of the most popular acoustic artists of the decade and one of its best-selling artists. By 1974, he was firmly established as America's best-selling performer, and AllMusic has described Denver as "among the most beloved entertainers of his era". After traveling and living in numerous locations while growing up in his military family, Denver began his music career in folk music groups in the late 1960s. Throughout his life, Denver recorded and released approximately 300 songs, about 200 of which he composed, with total sales of over 33 million.
Today
Today, while the blossoms still cling to the vine
Ill taste your strawberries, Ill drink your sweet wine
A million tomorrows shall all pass away
There I forget all the joy that is mine, today
Ill be a dandy and Ill be a rover
Youll know who I am by the songs that I sing
Ill feast at your table, Ill sleep in your clover
Who cares what the 'morrow shall bring
Today, while the blossoms still cling to the vine
Ill taste your strawberries, Ill drink your sweet wine
A million tomorrows shall all pass away
There I forget all the joy that is mine, today
I cant be contented with yesterdays glory
I cant live on promises winter to spring
Today is my moment, now is my story
Ill laugh and Ill cry and Ill sing
Today, while the blossoms still cling to the vine
Ill taste your strawberries, Ill drink your sweet wine
A million tomorrows shall all pass away
There I forget all the joy that is mine, today
Today, while the blossoms still cling to the vine
Ill taste your strawberries, Ill drink your sweet wine
A million tomorrows shall all pass away
There I forget all the joy that is mine, today
Narrative poetry is a form of poetry that tells a story, often making use of the voices of a narrator and characters as well; the entire story is usually written in metred verse. Narrative poems do not have to follow rhythmic patterns. The poems that make up this genre may be short or long, and the story it relates to may be complex. It is usually well it normally dramatic, with objectives, diverse characters, and metre. Narrative poems include epics, ballads, idylls, and lays.
Some narrative poetry takes the form of a novel in verse. An example of this is The Ring and the Book by Robert Browning. In terms of narrative poetry, a romance is a narrative poem that tells a story of chivalry. Examples include the Romance of the Rose or Tennyson's Idylls of the King. Although these examples use medieval and Arthurian materials, romances may also tell stories from classical mythology
Shorter narrative poems are often similar in style to the short story. Sometimes these short narratives are collected into interrelated groups, as with Chaucer's The Canterbury Tales. Some literatures contain prose naose narratives, and the Old Norse sagas include both incidental poetry and the biographies of poets. An example is "The Cremation of Sam McGee" by Robert Service.
Lyric poetry is a form of poetry which expresses personal emotions or feelings, typically spoken in the first person. The term derives from a form of Ancient Greek literature, the lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a lyre. The term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry: lyrical, dramatic and epic.
Much lyric poetry depends on regular meter based either on number of syllables or on stress. The most common meters are as follows:
Iambic – two syllables, with the short or unstressed syllable followed by the long or stressed syllable.
Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed syllable. In English, this metre is found almost entirely in lyric poetry.[3]
Pyrrhic – Two unstressed syllables
Anapestic – three syllables, with the first two short or unstressed and the last long or stressed.
Dactylic – three syllables, with the first one long or stressed and the other two short or unstressed.
Spondaic – two syllables, with two successive long or stressed syllables.
Some forms have a combination of meters, often using a different meter for the refrain.
● Lyric
Greek lyric is the body of lyric poetry written in dialects of ancient Greek. It is primarily associated with the early 7th to the early 5th centuries BC, sometimes called the "Lyric Age of Greece", but continued to be written into the Hellenistic and Imperial periods. Lyric is one of three broad categories of poetry in classical antiquity, along with drama and epic, according to the scheme of the "natural forms of poetry" developed by Goethe in the early nineteenth century. (Drama is considered a form of poetry here because both tragedy and comedy were written in verse in ancient Greece.) Culturally, Greek lyric is the product of the political, social and intellectual milieu of the Greek polis ("city-state").
In Horace, the phrase is part of the longer "carpe diem, quam minimum credula postero", which can be translated as "Seize the day, put very little trust in tomorrow (the future)". The ode says that the future is unforeseen and that one should not leave to chance future happenings, but rather one should do all one can today to make one's future better. This phrase is usually understood against Horace's Epicurean background. The meaning of "carpe diem" as used by Horace is not to ignore the future, but rather not to trust that everything is going to fall into place for you and taking action for the future today.
Carpe is the second-person singular present active imperative of carpō "pick or pluck" used by Horace to mean "enjoy, seize, use, make use of". Diem is the accusative case of the noun dies "day". A more literal translation of "carpe diem" would thus be "pluck the day [as it is ripe]"—i.e., enjoy the moment.
● To the Virgins, to Make Much of Time
"To the Virgins, to Make Much of Time" is a poem written by English Cavalier poet Robert Herrick in the 17th century. The poem is in the genre of carpe diem, Latin for seize the day. It goes as follows:
Gather ye rosebuds while ye may,
Old Time is still a-flying;
And this same flower that smiles today
To-morrow will be dying.
The glorious lamp of heaven, the sun,
The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former.
Then be not coy, but use your time,
And, while ye may, go marry:
For having lost but once your prime,
You may forever tarry.
First published in 1648 as number 208 in a volume of verse entitled Hesperides, it is perhaps one of the most famous poems to extol the notion of carpe diem. Carpe diem expresses a philosophy that recognizes the brevity of life and therefore the need to live for and in the moment. The phrase originates in Horace's Ode 1.11.
The opening line, "Gather ye rosebuds while ye may", echoes the Latin phrase collige, virgo, rosas ("gather, girl, the roses"), which appears at the end of the poem "De rosis nascentibus," also called "Idyllium de rosis," attributed to Ausonius or Virgil.
Nearly the same sense was expressed thousands of years earlier in Wisdom of Solomon 2:8, "Let us crown ourselves with rosebuds before they wither", a verse ironically given as the example of a fool's reasoning in denying the resurrection of the dead and turning to licence.
"To His Coy Mistress" is a metaphysical poem written by the English author and politician Andrew Marvell (1621–1678) either during or just before the English Interregnum (1649–60).
This poem is considered one of Marvell's finest and is possibly the best recognized carpe diem poem in English. Although the date of its composition is not known, it may have been written in the early 1650s. At that time, Marvell was serving as a tutor to the daughter of the retired commander of the New Model Army, Sir Thomas Fairfax.
Until recently, “To His Coy Mistress” had been received by many as a poem that follows the traditional conventions of carpe diem love poetry. Some modern critics, however, argue Marvell’s use of complex and ambiguous metaphors challenges the perceived notions of the poem. It as well raises suspicion of irony and deludes the reader with its inappropriate and jarring imagery.
Synoposis
The speaker of the poem starts by addressing a woman who has been slow to respond to his sexual advances. In the first stanza he describes how he would love her if he were to be unencumbered by the constraints of a normal lifespan. He could spend centuries admiring each part of her body and her resistance to his advances (i.e., coyness) would not discourage him. In the second stanza, he laments how short human life is. Once life is over, the speaker contends, the opportunity to enjoy one another is gone, as no one embraces in death. In the last stanza, the speaker urges the woman to requite his efforts, and argues that in loving one another with passion they will both make the most of the brief time they have to live.
Iambic tetrameter is a meter in poetry. It refers to a line consisting of four iambic feet. The word "tetrameter" simply means that there are four feet in the line; iambic tetrameter is a line comprising four iambs.
Some poetic forms rely upon iambic tetrameter: triolet, Onegin stanza, Memoriam stanza, long measure (or long meter) ballad stanza.
The term originally applied to the quantitative meter of Classical Greek poetry, in which an iamb consisted of a short syllable followed by a long syllable.
Aesop's Fables or the Aesopica is a collection of fables credited to Aesop, a slave and storyteller believed to have lived in ancient Greece between 620 and 560 BCE. Of diverse origins, the stories associated with Aesop's name have descended to modern times through a number of sources. They continue to be reinterpreted in different verbal registers and in popular as well as artistic media.
The Greek historian Herodotus mentioned in passing that "Aesop the fable writer" was a slave who lived in Ancient Greece during the 5th century BCE. Among references in other writers, Aristophanes, in his comedy The Wasps, represented the protagonist Philocleon as having learnt the "absurdities" of Aesop from conversation at banquets; Plato wrote in Phaedo that Socrates whiled away his jail time turning some of Aesop's fables "which he knew" into verses. Nonetheless, for two main reasons – because numerous morals within Aesop's attributed fables contradict each other, and because ancient accounts of Aesop's life contradict each other – the modern view is that Aesop was not the originator of all those fables attributed to him. Instead, any fable tended to be ascribed to the name of Aesop if there was no known alternative literary source.
● Hare
Hares and jackrabbits are leporids belonging to the genus Lepus. Hares are classified into the same family as rabbits and are of similar size, form, and diet as rabbits. They are generally herbivorous, long-eared, and fast runners, and typically live solitarily or in pairs. Hare species are native to Africa, Eurasia, North America, and the Japanese archipelago.
Five leporid species with "hare" in their common names are not considered true hares: the hispid hare (Caprolagus hispidus), and four species known as red rock hares (comprising Pronolagus). Meanwhile, jackrabbits are hares rather than rabbits.
A hare less than one year old is called a leveret. The collective noun for a group of hares is a "drove".
Hares do not bear their young below ground in a burrow as do other leporids, but rather in a shallow depression or flattened nest of grass called a form. Young hares are adapted to the lack of physical protection, relative to that afforded by a burrow, by being born fully furred and with eyes open. They are hence precocial, and are able to fend for themselves soon after birth. By contrast, the related rabbits and cottontail rabbits are altricial, having young that are born blind and hairless.
● Fable
Fable is a literary genre: a succinct fictional story, in prose or verse, that features animals, mythical creatures, plants, inanimate objects, or forces of nature that are anthropomorphized (given human qualities, such as verbal communication) and that illustrates or leads to an interpretation of a moral lesson (a "moral"), which may at the end be added explicitly as a pithy maxim.
A fable differs from a parable in that the latter excludes animals, plants, inanimate objects, and forces of nature as actors that assume speech or other powers of humankind.
Usage has not always been so clearly distinguished. In the King James Version of the New Testament, "μῦθος" ("mythos") was rendered by the translators as "fable" in the First Epistle to Timothy, the Second Epistle to Timothy, the Epistle to Titus and the First Epistle of Peter.
A person who writes fables is a fabulist.
The fable is one of the most enduring forms of folk literature, spread abroad, modern researchers agree, less by literary anthologies than by oral transmission. Fables can be found in the literature of almost every country.
Aesopic or Aesop's fable
The varying corpus denoted Aesopica or Aesop's Fables includes most of the best-known western fables, which are attributed to the legendary Aesop, supposed to have been a slave in ancient Greece around 550 BC. When Babrius set down fables from the Aesopica in verse for a Hellenistic Prince "Alexander," he expressly stated at the head of Book II that this type of "myth" that Aesop had introduced to the "sons of the Hellenes" had been an invention of "Syrians" from the time of "Ninos" (personifying Nineveh to Greeks) and Belos ("ruler"). Epicharmus of Kos and Phormis are reported as having been among the first to invent comic fables. Many familiar fables of Aesop include "The Crow and the Pitcher", "The Tortoise and the Hare" and "The Lion and the Mouse". In ancient Greek and Roman education, the fable was the first of the progymnasmata—training exercises in prose composition and public speaking—wherein students would be asked to learn fables, expand upon them, invent their own, and finally use them as persuasive examples in longer forensic or deliberative speeches. The need of instructors to teach, and students to learn, a wide range of fables as material for their declamations resulted in their being gathered together in collections, like those of Aesop.
Africa
African oral culture has a rich story-telling tradition. As they have for thousands of years, people of all ages in Africa continue to interact with nature, including plants, animals and earthly structures such as rivers, plains and mountains. Grandparents enjoy enormous respect in African societies and fill the new role of story-telling during retirement years. Children and, to some extent, adults are mesmerized by good story-tellers when they become animated in their quest to tell a good fable.
The King James Version (KJV), also known as the Authorized Version (AV) or King James Bible (KJB), is an English translation of the Christian Bible for the Church of England that begun in 1604 and completed in 1611.
First printed by the King's Printer Robert Barker, this was the third translation into English to be approved by the English Church authorities. The first was the Great Bible commissioned in the reign of King Henry VIII (1535), and the second was the Bishops' Bible of 1568. In January 1604, James I convened the Hampton Court Conference where a new English version was conceived in response to the perceived problems of the earlier translations as detected by the Puritans, a faction within the Church of England. The translation is widely considered a towering achievement in English literature, as both beautiful and scholarly.
James gave the translators instructions intended to guarantee that the new version would conform to the ecclesiology and reflect the episcopal structure of the Church of England and its belief in an ordained clergy. The translation was done by 47 scholars, all of whom were members of the Church of England. In common with most other translations of the period, the New Testament was translated from Greek, the Old Testament was translated from Hebrew and Aramaic text, while the Apocrypha was translated from the Greek and Latin. In the Book of Common Prayer (1662), the text of the Authorized Version replaced the text of the Great Bible – for Epistle and Gospel readings (but not for the Psalter which has retained substantially Coverdale's Great Bible version) and as such was authorized by Act of Parliament.
The Boy Who Cried Wolf is one of Aesop's Fables, numbered 210 in the Perry Index. From it is derived the English idiom "to cry wolf", defined as "to give a false alarm" in Brewer's Dictionary of Phrase and Fable and glossed by the Oxford English Dictionary as meaning to make false claims, with the result that subsequent true claims are disbelieved.
The tale concerns a shepherd boy who repeatedly tricks nearby villagers into thinking a wolf is attacking his flock. When one actually does appear and the boy again calls for help, the villagers believe that it is another false alarm and the sheep are eaten by the wolf.
The moral stated at the end of the Greek version is, "this shows how liars are rewarded: even if they tell the truth, no one believes them". It echoes a statement attributed to Aristotle by Diogenes Laërtius in his The Lives and Opinions of Eminent Philosophers, where the sage was asked what those who tell lies gain by it and he answered "that when they speak truth they are not believed". William Caxton similarly closes his version with the remark that "men bileve not lyghtly hym whiche is knowen for a lyer".
The Fox and the Grapes is one of the Aesop's fables, numbered 15 in the Perry Index. The narration is concise and subsequent retellings have often been equally succinct. The story concerns an anthropomorphized fox that tries to eat grapes from a vine but cannot reach them. Rather than admit defeat, it denies they are desirable in a rationalisation that has been identified with cognitive dissonance. The expression "sour grapes" originated from this fable.
The fable of The Fox and the Grapes is one of a number which feature only a single animal protagonist. There are several Greek versions as well as one in Latin by Phaedrus (IV.3) which is terse and to the point:
Driven by hunger, a fox tried to reach some grapes hanging high on the vine but was unable to, although he leaped with all his strength. As he went away, the fox remarked 'Oh, you aren't even ripe yet! I don't need any sour grapes.' People who speak disparagingly of things that they cannot attain would do well to apply this story to themselves.
In her version of La Fontaine's Fables, Marianne Moore underlines his ironical comment on the situation in a final pun, "Better, I think, than an embittered whine".
Although the fable describes purely subjective behaviour, the English idiom "sour grapes" which develops from the story is now often used also of envious disparagement to others. Similar expressions exist in other languages, but in the Scandinavian equivalent the fox makes its comment about rowanberries since grapes are not common in northern latitudes.
In psychology, cognitive dissonance is the mental stress or discomfort experienced by an individual who holds two or more contradictory beliefs, ideas, or values at the same time, performs an action that is contradictory to one or more beliefs, ideas or values, or is confronted by new information that conflicts with existing beliefs, ideas, or values.
Individuals can adjust their attitudes or actions in various ways. Adjustments result in one of three relationships between two cognitions or between a cognition and a behavior.
Consonant relationship
Two cognitions/actions that are consistent with one another (e.g., not wanting to get intoxicated while out, then ordering water instead of alcohol)
Irrelevant relationship
Two cognitions/actions that are unrelated to one another (e.g., not wanting to get intoxicated while out, then tying your shoes)
Dissonant relationship
Two cognitions/actions that are inconsistent with one another (e.g., not wanting to get intoxicated while out, then consuming a large quantity of alcohol)
Magnitude of dissonance
The amount of dissonance produced by two conflicting cognitions or actions (as well as the subsequent psychological distress) depends on two factors:
The importance of cognitions: The more elements that are personally valued, the greater the magnitude of the dissonant relationship.
Ratio of cognitions: The proportion of dissonant to consonant elements
The pressure to reduce cognitive dissonance is a function of the magnitude of this dissonance.
The North Wind and the Sun is one of Aesop's Fables (Perry Index 46). It is type 298 (Wind and Sun) in the Aarne-Thompson folktale classification. The moral it teaches about the superiority of persuasion over force has made the story widely known. It is also known for being a chosen text for phonetic transcriptions.
Plot
The story concerns a competition between the North wind and the Sun to decide which is the stronger of the two. The challenge was to make a passing traveler remove his cloak. However hard the North Wind blew, the traveler only wrapped his cloak tighter to keep warm, but when the Sun shone, the traveler was overcome with heat and soon took his cloak off.
The fable was well known in Ancient Greece; Athenaeus recorded that Hieronymus of Rhodes, in his Historical Notes, quotes an epigram of Sophocles against Euripides which parodies the story of Helios and Boreas.[2] It relates how Sophocles had his cloak stolen by a boy to whom he had made love. Euripides joked that he had had that boy too and it did not cost him anything. Sophocles' reply satirises the adulteries of Euripides: "It was the Sun, and not a boy, whose heat stripped me naked; as for you, Euripides, when you were kissing someone else's wife the North Wind screwed you. You are unwise, you who sow in another's field, to accuse Eros of being a snatch-thief."
The Latin version of the fable first appears centuries later in Avianus as De Vento et Sole (Of the wind and the sun, Fable 4); early versions in English and Johann Gottfried Herder's poetic version in German (Wind und Sonne) also give it as such. It is only in mid-Victorian times that the title "The North Wind and the Sun" begins to be used. In fact the Avianus poem refers to the characters as Boreas and Phoebus, the gods of the north wind and the sun, and it is under the title Phébus et Borée that it appears in La Fontaine's Fables (VI.3).
Victorian versions give the moral as "Persuasion is better than force", but it has been put in different ways at other times. In the Barlow edition of 1667, Aphra Behn teaches the Stoic lesson that there should be moderation in everything: "In every passion moderation choose,/For all extremes do bad effects produce",while La Fontaine's conclusion is that "Gentleness does more than violence" (Fables VI.3). In the 18th century, Herder comes to the theological conclusion that, while superior force leaves us cold, the warmth of Christ's love dispels it, and Walter Crane's limerick version of 1887 gives a psychological interpretation, "True strength is not bluster". Most of these examples draw a moral lesson, but La Fontaine hints at the political application that is present also in Avianus' conclusion: "They cannot win who start with threats". There is evidence that this reading has had an explicit influence on the diplomacy of modern times: in South Korea's Sunshine Policy, for instance, or Japanese relations with the military regime in Burma.
● Allegory
As a literary device, an allegory in its most general sense is an extended metaphor. Allegory has been used widely throughout history in all forms of art, largely because it can readily illustrate complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.
Writers or speakers typically use allegories as literary devices or as rhetorical devices that convey hidden meanings through symbolic figures, actions, imagery, and/or events, which together create the moral, spiritual, or political meaning the author wishes to convey.
One of the best-known examples of allegory, Plato's Allegory of the Cave, forms a part of his larger work The Republic. In this allegory, Plato describes a group of people who have lived chained in a cave all of their lives, facing a blank wall (514a-b). 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, using language to identify their world (514c-515a). According to the allegory, the shadows are as close as the prisoners get to viewing reality, until one of them finds his way into the outside world where he sees the actual objects that produced the shadows. He tries to tell the people in the cave of his discovery, but they do not believe him and vehemently resist his efforts to free them so they can see for themselves (516e-518a). This allegory is, on a basic level, about a philosopher who upon finding greater knowledge outside the cave of human understanding, seeks to share it as is his duty, and the foolishness of those who would ignore him because they think themselves educated enough.
The Faerie Queene is an incomplete English epic poem by Edmund Spenser. The first half was published in 1590, and a second installment was published in 1596. The Faerie Queene is notable for its form: it is one of the longest poems in the English language and the origin of a verse form that came to be known as Spenserian stanza. It is an allegorical work, and can be read (as Spenser presumably intended) on several levels of allegory, including as praise of Queen Elizabeth I. In a completely allegorical context, the poem follows several knights in an examination of several virtues. In Spenser's "Letter of the Authors," he states that the entire epic poem is "cloudily enwrapped in allegorical devices," and that the aim of publishing The Faerie Queene was to “fashion a gentleman or noble person in virtuous and gentle discipline.”
The Faerie Queene found such favor with Elizabeth I that Spenser was granted a pension for life amounting to £50 a year, though there is no evidence that Elizabeth I read any of the poem. This royal patronage helped the poem along to such a level of success that it became Spenser's defining work.
Summary
Book I
is centered on the virtue of Holiness as embodied in the Redcrosse Knight. He and his lady Una travel together as he fights the dragon Errour, then separate as the wizard Archimago tricks the Redcrosse Knight in a dream to think that Una is unchaste. After he leaves, the Redcrosse Knight meets Duessa, who pretends to be captured in order to trap him. Duessa leads the Redcrosse Knight to captivity by the giant Orgoglio. Meanwhile, Una overcomes peril, meets Arthur, and finally finds and rescues the Redcrosse Knight from his capture, from Duessa, and from Despair. Una and Arthur help the Redcrosse Knight recover in the House of Holiness, where he sees a vision of his future. He then returns Una to her parents' castle, rescues them from a dragon, and the two are betrothed after resisting Archimago one last time.
Book II
is centered on the virtue of Temperance as embodied in Sir Guyon, who is tempted by the fleeing Archimago into nearly attacking the Redcrosse Knight. Guyon discovers a woman killing herself out of grief for having her lover tempted and bewitched by the witch Acrasia and killed. Guyon swears a vow to avenge them and protect their child. Guyon on his quest starts and stops fighting several evil, rash, or tricked knights and meets Arthur. Finally, they come to Acrasia's Island and the Bower of Bliss, where Guyon resists temptations to violence, idleness, and lust. Guyon captures Acrasia in a net, destroys the Bower, and rescues those imprisoned there.
Book III
is centered on the virtue of Chastity as embodied in Sir Britomart, a lady knight. Resting after the events of Book II, Guyon and Arthur meet Britomart, who wins a joust with Guyon. They separate as Arthur and Guyon leave to rescue Florimell, while Britomart rescues the Redcrosse Knight. Britomart reveals to the Redcrosse Knight that she is pursuing Sir Artegal because she is destined to marry him. The Redcrosse Knight defends Artegal and they meet Merlin, who explains more carefully Britomart's destiny to found the English monarchy. Britomart leaves and fights Sir Marinell. Arthur looks for Florimell, joined later by Sir Satyrane and Britomart, and they witness and resist sexual temptation. Britomart separates from them and meets Sir Scudamore, looking for his captured lady Amoret. Britomart alone is able to rescue Amoret from the wizard Busirane and reunite the lovers.
Book IV
is centered on the virtue of Friendship as embodied in Sir Cambell and Sir Triamond.
Book V
is centered on the virtue of Justice as embodied in Sir Artegal.
Book VI
is centered on the virtue of Courtesy as embodied in Sir Calidore.
A political allegory is a story or painting that, on the surface, tells one tale, but has a hidden political meaning underneath. It is an extended metaphor that often uses a simple substitution of one element or symbol for another. Political allegories can be extended to fiction, drama, paintings, music and films.
Allegory comes from the Latin and Greek word ‘allegoria,’ meaning ‘veiled language’ or ‘figurative.’ This means that the meaning is not literal, but is implied. Examples of allegory include Virgil’s “Eclogues” and Jan Vermeer’s “The Allegory of Painting.” Marcus Fabius Quintillian divided allegory into two broad types: the personal/historical and the wit/sarcastic. He also believed that if an allegory was too enigmatic, it was a blemish on art.
Political allegory can cover any time and space and does not have to be limited to the native politics and time of the creator. An allegory becomes political if it covers a political event or situation by producing a subtle commentary on it using other symbols. The term political allegory can also be applied to the use of fictional characters as direct substitutions for real politicians.
● Parable
A parable is a succinct, didactic story, in prose or verse, which illustrates one or more instructive lessons or principles. It differs from a fable in that fables employ animals, plants, inanimate objects, or forces of nature as characters, whereas parables have human characters. A parable is a type of analogy.
Some scholars of the canonical gospels and the New Testament apply the term "parable" only to the parables of Jesus, though that is not a common restriction of the term. Parables such as "The Prodigal Son" are central to Jesus' teaching method in the canonical narratives and the apocrypha.
The Parable of the Prodigal Son (also known as the Lost Son, Running Father, Loving Father, or Lovesick Father) is one of the parables of Jesus. It appears in only one of the Canonical gospels of the New Testament, the Gospel of Luke (Luke 15:11-32). Jesus shares it with his disciples, the Pharisees and others. According to the story, a father has two sons. The younger son asks for his inheritance before the father dies, and the father agrees. The younger son, after wasting his fortune (the word "prodigal" means "wastefully extravagant"), goes hungry during a famine, and becomes so destitute he longs to eat the same food given to hogs, unclean animals in Jewish culture. He then returns home with the intention of repenting and begging his father to be one of his hired servants, expecting his relationship with his father is likely severed. Regardless, the father finds him on the road and immediately welcomes him back as his son and holds a feast to celebrate his return, which includes killing a fattened calf usually reserved for special occasions. The older son refuses to participate, stating that in all the time he has worked for the father, he never disobeyed him; yet, he did not even receive a goat to celebrate with his friends. The father reminds the older son that the son has always been with him and everything the father has is the older son's (his inheritance). But, they should still celebrate the return of the younger son because he was lost and is now found. It is the third and final part of a cycle on redemption, following the Parable of the Lost Sheep and the Parable of the Lost Coin.