Pussy in Boots and Symbols
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A Symbol, a Sort of Poetry
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| Buddhists compare transcending ordinary existence, realising a new mode of being, with breaking the shell of the egg. [Ebu "creation myth"] |
Rudolf Steiner once compared tight definitions with too narrow or too small shoes. Good definitions and concepts to live by, have to be a bit elastic or loose - or big enough. Neither shoes nor food for thought should block the space craved for such a thriving and growing - together as well. Thus, it behoves us to leave some room for the unexpected yet. Good foresight is into it. Have leeways of thought for the sake of artistry of living.
It is essential to understand to what degree language in itself (per se) is representative, that is, a largely symbolic outfit for man.
If a labelling stage is missed, much groundwork for future process may be spoiled. So children should learn many names of things and happenings (key phenomena) for the sake of their future control of life.
The process of mental development is eased by good stories in relaxed, non-scaring settings and entertaining ways. Most folk tales are, and surrealism is into lots of them (miracle tales, for example). Some fantastic tales seem to speak to hearts, where they can be cherished as valuable.
Good use of symbols uses similarities on top of comparison labours. Greek culture was evidently fond of fantastic symbols. Folklore is often rich in handed-over symbols Giants in Greek tales can be regarded as symbols that need interpretations. By locking up the handed-over symbols, ideas that pertain to man's general condition may stand out. Freudian thinking has tried to decipher ancient Greek stories in that vein. Not all of these intrinsically well-meaning efforts seem well founded and factual, though. But the field of speculation and interpretation depends on the sagacity and skills of those who enter it.
What is called a symbol is also derived from more or less common agreements about it.
In sciences, such as mathematics and physics, symbols help us to get control or more control, or firmer control. Such control lies in the "symbol park's" capacity to sum up. And what is more, the symbols that sum up a lot, do not have to look big. Used as pegs of a sort they help recall a whole lot, and excellent symbols aid recall and control for other reasons too. Apt symbols make newcomers remember stuff that is communicated a lot better. Figurative mentions and some symbols help unifications too.
Albert Einstein spoke for fairy tales as fit for making future scientists. I agree. [Brms 1]
Jolly in Boots
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"Sire, my master sends you this fine plump rabbit as a gift." The queen got very interested. "Is your master young and handsome?" she asked. - "Would not you like to marry such a man?" the queen asked her daughter.
"Oh, yes."
In the end none mattered unless dressed up well and having property to show off.
Comments
Charles Perrault (1628-1703), who published Puss in Boots and other fairy tales in 1697, commented that the tale reflected the insensible value of being well dressed for becoming one of the snobs or aristocracy. Today's world of fashion reminds of it too.
♦ 1. A great dress often obscures deep greed, but not always.
♦ 2. Buildings of monarchies seem awfully out of place in the deserts of Australia.
♦ 3. There are many more variants of promoting oneself than giving-and-feigning by proxy for the sake of upward mobility, and perhaps you should know them.
♦ 4. A devotee may feel inclined to think as told in other ways and wordings also. A character in the heroic poem Ramayama [Ra], the jumping and talking Hanuman ape, is greatly admired.
By contrast, Yogananda was one day
knocked into ecstasy instead of attaining it by his own efforts in meditation. He became alternatively royal that way, one may say. Well accomplished gurus are called kings, rajas, maharajs (great kings), and the like. Afterwards one risks to be venerated and humiliated. [LINK].
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Literature
Brms: Zipes, Jack. Breaking the Magic Spell. Reprint. New York: Routledge, 1992.
Ra: Shastri, Hari, tr. Ramayana of Valmiki, vo1s 1-3. London: Shanti Sadan, 1959.
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