ϖαραβολή, formed from ϖαραβάλλειν, _to oppose_ or _compare_, an
allegorical instruction, founded on something real or apparent in nature
or history, from which a moral is drawn, by comparing it with some other
thing in which the people are more immediately concerned. (See
_Allegory_.) Aristotle defines parable, a similitude drawn from form to
form. Cicero calls it a collation; others, a simile. F. de Colonia calls
it a rational fable; but it may be founded on real occurrences, as many
parables of our Saviour were. The Hebrews call it משל, from a word which
signifies either _to predominate_ or _to assimilate_; the Proverbs of
Solomon are by them also called >משלים, _parables_, or _proverbs_.
Parable, according to the eminently learned Bishop Lowth, is that kind
of allegory which consists of a continued narration of a fictitious or
accommodated event, applied to the illustration of some important truth.
The Greeks call these αἶνοι, _allegories_, or _apologues_; the Latins,
_fabulæ_, or fables;” and the writings of the Phrygian sage, or those
composed in imitation of him, have acquired the greatest celebrity. Nor
has our Saviour himself disdained to adopt the same method of
instruction; of whose parables it is doubtful whether they excel most in
wisdom and utility, or in sweetness, elegance, and perspicuity. As the
appellation of parable has been applied to his discourses of this kind,
the term is now restricted from its former extensive signification to a
more confined sense. But this species of composition occurs very
frequently in the prophetic poetry, and particularly in that of Ezekiel.
If to us they should sometimes appear obscure, we must remember, that,
in those early times when the prophetical writings were indited, it was
universally the mode throughout all the eastern nations to convey sacred
truths under mysterious figures and representations. In order to our
forming a more certain judgment upon this subject, Dr. Lowth has briefly
explained some of the primary qualities of the poetic parables; so that,
by considering the general nature of them, we may decide more accurately
on the merits of particular examples.
It is the first excellence of a parable to turn upon an image well known
and applicable to the subject, the meaning of which is clear and
definite; for this circumstance will give it perspicuity, which is
essential to every species of allegory. If the parables of the sacred
prophets are examined by this rule, they will not be found deficient.
They are in general founded upon such imagery as is frequently used, and
similarly applied by way of metaphor and comparison in the Hebrew
poetry. Examples of this kind occur in the parable of the deceitful
vineyard, Isaiah v, 1–7, and of the useless vine, Ezek. xv; xix, 10–14;
for under this imagery the ungrateful people of God are more than once
described; Ezek. xix, 1–9; xxxi; xvi; xxiii. Moreover, the image must
not only be apt and familiar, but it must be also elegant and beautiful
in itself; since it is the purpose of a poetic parable, not only to
explain more perfectly some proposition, but frequently to give it some
animation and splendour. As the imagery from natural objects is in this
respect superior to all others, the parables of the sacred poets consist
chiefly of this kind of imagery. It is also essential to the elegance of
a parable, that the imagery should not only be apt and beautiful, but
that all its parts and appendages should be perspicuous and pertinent.
Of all these excellencies, there cannot be more perfect examples than
the parables that have been just specified; to which we may add the well
known parable of Nathan, 2 Sam. xii, 1–4, although written in prose, as
well as that of Jotham, Judges ix, 7–15, which appears to be the most
ancient extant, and approaches somewhat nearer to the poetical form. It
is also the criterion of a parable, that it be consistent throughout,
and that the literal be never confounded with the figurative sense; and
in this respect it materially differs from that species of allegory,
called the continued metaphor, Isaiah v, 1–7. It should be considered,
that the continued metaphor and the parable have a very different view.
The sole intention of the former is to embellish a subject, to represent
it more magnificently, or at the most to illustrate it, that, by
describing it in more elevated language, it may strike the mind more
forcibly; but the intent of the latter is to withdraw the truth for a
moment from our sight, in order to conceal whatever it may contain
ungrateful or reproving, and to enable it secretly to insinuate itself,
and obtain an ascendency as it were by stealth. There is, however, a
species of parable, the intent of which is only to illustrate the
subject; such is that remarkable one of the cedar of Lebanon, Ezek.
xxxi; than which, if we consider the imagery itself, none was ever more
apt or more beautiful; or the description and colouring, none was ever
more elegant or splendid; in which, however, the poet has occasionally
allowed himself to blend the figurative with the literal description,
verses 11, 14–17; whether he has done this because the peculiar nature
of this kind of parable required it, or whether his own fervid
imagination alone, which disdained the stricter rules of composition,
was his guide, our learned author can scarcely presume to determine.
In the New Testament, the word parable is used variously: in Luke iv,
23, for a proverb, or adage; in Matt. xv, 15, for a thing darkly and
figuratively expressed; in Heb. ix, 9, &c, for a type; in Luke xiv, 7,
&c, for a special instruction; in Matt. xxiv, 32, for a similitude or
comparison.
allegorical instruction, founded on something real or apparent in nature
or history, from which a moral is drawn, by comparing it with some other
thing in which the people are more immediately concerned. (See
_Allegory_.) Aristotle defines parable, a similitude drawn from form to
form. Cicero calls it a collation; others, a simile. F. de Colonia calls
it a rational fable; but it may be founded on real occurrences, as many
parables of our Saviour were. The Hebrews call it משל, from a word which
signifies either _to predominate_ or _to assimilate_; the Proverbs of
Solomon are by them also called >משלים, _parables_, or _proverbs_.
Parable, according to the eminently learned Bishop Lowth, is that kind
of allegory which consists of a continued narration of a fictitious or
accommodated event, applied to the illustration of some important truth.
The Greeks call these αἶνοι, _allegories_, or _apologues_; the Latins,
_fabulæ_, or fables;” and the writings of the Phrygian sage, or those
composed in imitation of him, have acquired the greatest celebrity. Nor
has our Saviour himself disdained to adopt the same method of
instruction; of whose parables it is doubtful whether they excel most in
wisdom and utility, or in sweetness, elegance, and perspicuity. As the
appellation of parable has been applied to his discourses of this kind,
the term is now restricted from its former extensive signification to a
more confined sense. But this species of composition occurs very
frequently in the prophetic poetry, and particularly in that of Ezekiel.
If to us they should sometimes appear obscure, we must remember, that,
in those early times when the prophetical writings were indited, it was
universally the mode throughout all the eastern nations to convey sacred
truths under mysterious figures and representations. In order to our
forming a more certain judgment upon this subject, Dr. Lowth has briefly
explained some of the primary qualities of the poetic parables; so that,
by considering the general nature of them, we may decide more accurately
on the merits of particular examples.
It is the first excellence of a parable to turn upon an image well known
and applicable to the subject, the meaning of which is clear and
definite; for this circumstance will give it perspicuity, which is
essential to every species of allegory. If the parables of the sacred
prophets are examined by this rule, they will not be found deficient.
They are in general founded upon such imagery as is frequently used, and
similarly applied by way of metaphor and comparison in the Hebrew
poetry. Examples of this kind occur in the parable of the deceitful
vineyard, Isaiah v, 1–7, and of the useless vine, Ezek. xv; xix, 10–14;
for under this imagery the ungrateful people of God are more than once
described; Ezek. xix, 1–9; xxxi; xvi; xxiii. Moreover, the image must
not only be apt and familiar, but it must be also elegant and beautiful
in itself; since it is the purpose of a poetic parable, not only to
explain more perfectly some proposition, but frequently to give it some
animation and splendour. As the imagery from natural objects is in this
respect superior to all others, the parables of the sacred poets consist
chiefly of this kind of imagery. It is also essential to the elegance of
a parable, that the imagery should not only be apt and beautiful, but
that all its parts and appendages should be perspicuous and pertinent.
Of all these excellencies, there cannot be more perfect examples than
the parables that have been just specified; to which we may add the well
known parable of Nathan, 2 Sam. xii, 1–4, although written in prose, as
well as that of Jotham, Judges ix, 7–15, which appears to be the most
ancient extant, and approaches somewhat nearer to the poetical form. It
is also the criterion of a parable, that it be consistent throughout,
and that the literal be never confounded with the figurative sense; and
in this respect it materially differs from that species of allegory,
called the continued metaphor, Isaiah v, 1–7. It should be considered,
that the continued metaphor and the parable have a very different view.
The sole intention of the former is to embellish a subject, to represent
it more magnificently, or at the most to illustrate it, that, by
describing it in more elevated language, it may strike the mind more
forcibly; but the intent of the latter is to withdraw the truth for a
moment from our sight, in order to conceal whatever it may contain
ungrateful or reproving, and to enable it secretly to insinuate itself,
and obtain an ascendency as it were by stealth. There is, however, a
species of parable, the intent of which is only to illustrate the
subject; such is that remarkable one of the cedar of Lebanon, Ezek.
xxxi; than which, if we consider the imagery itself, none was ever more
apt or more beautiful; or the description and colouring, none was ever
more elegant or splendid; in which, however, the poet has occasionally
allowed himself to blend the figurative with the literal description,
verses 11, 14–17; whether he has done this because the peculiar nature
of this kind of parable required it, or whether his own fervid
imagination alone, which disdained the stricter rules of composition,
was his guide, our learned author can scarcely presume to determine.
In the New Testament, the word parable is used variously: in Luke iv,
23, for a proverb, or adage; in Matt. xv, 15, for a thing darkly and
figuratively expressed; in Heb. ix, 9, &c, for a type; in Luke xiv, 7,
&c, for a special instruction; in Matt. xxiv, 32, for a similitude or
comparison.