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.
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PARÁ, or Santa Mariade Belem do Grao Para, one of the most flourishing cities of Brazil, capital of the province of Pará or Gräo Pará, lies on a point of land with sandy porous soil at the junction of the Guamâ with the Rio Pará or eastern arm of the Amazons, about 75 miles from the sea. The main river is about 20 miles wide opposite the town, but is broken by numerous islands. Pará is regularly built, well-paved, and well-lighted. The houses, which seldom exceed two or three stories in height, are usually substantial structures of stone; and a general brightness of aspect is produced by red-tiled roofs and white, yellow, or even pink and blue coloured walls relieved by dense tropical foliage. The Estrada das Mon-gubeiras, running about a mile from the river to Largo da Polvora in the east end of the city, has long been famous for its magnificent cotton trees (Bombax Monguba, B. Ceiba'); but the grand old trees are dying out, and the finest avenue in Pará is now the Estrada de Sâo José, with its colonnade of tall “royal palms ” (Oreodoxa regia). In the outskirts of the city the wealthy merchants have villas with very extensive grounds, and a little way beyond these begins the dense swamp-forest. Pará has a wonderfully pleasant and healthy climate, with a temperature extremely equable throughout the year. “The mornings are cool. From 10 till 2 the heat increases rapidly, commonly reaching 90° or 91°. A little later great black clouds appear in the east and spread quickly over the sky; the temperature falls suddenly, the wind blows in varying gusts, the rain pours down, and ere one is aware the sun leaps out. Sometimes the first shower is followed by a second or even a third. By sunset the ground is dry.” This is the rule all the year round; only in ...the height of the dry season a week may pass without any showers. The Brazilians have a proverb, “Who came to Pará was glad to stay: who drank assai went never away.” The assai referred to is a beverage made by squeezing the black grape-like berries of the assai palm (Euterpe edulis) ; it is largely drunk by all classes in Parâ. The importance of the city is due to its being the great emporium of the rapidly-developing trade of the Amazons. The trade is carried on by several steamboat companies; the most important, the Amazonian Steamboat Company, receives a subsidy from the Brazilian Government. Two lines of steamers run between Liverpool and Paré,; there are also a French line and a German line. A large trade is transacted with the United States, but mainly through English, French, German, and Portuguese houses. The principal exports are cocoa, Brazil nuts, hides, deer-skins, isinglass, balsam of copaiba, tonka beans, and Peruvian bark. In 1863 the total value of the imports was about £500,000 and of the exports about <£525,000; by 1882 the duties paid to the custom-house amounted to £864,396.
Population has been growing faster than the supply of houses. In 1819 the inhabitants were estimated at 24,500, but by 1850 they had declined to 15,000; in 1866 they were 36,000 (about 5000 slaves); and they are now (1884) nearly 40,000. Besides a vast cathedral (1720) and the president’s palace, usually considered one of the best buildings of its kind in Brazil, Parâ contains an episcopal palace (formerly the Jesuit college), a handsome theatre, a large market building, a custom-house (formerly a convent, with two great towers), naval and military arsenals (the first of some size, with shipbuilding yards and a gridiron), a botanical garden, &c. About a mile from the city is the chapel of Our Lady of Nazareth, the most celebrated shrine in northern Brazil.
In 1615 Francisco Caldeira de Castello Branco, sent out by the Portuguese at Maranhao, built the fort of Santo Christo and founded the settlement of Nossa Senhora de Belem. By 1641 it was a place of 400 inhabitants, with four monasteries. A premature declaration of independence was made at Para in 1823, and soon after Captain Grenfell, sent by Lord Cochrane, brought the city over to the Brazilian party; but for many years it was subject to political disturbance. In 1835 “every respectable white was obliged to leave the city” by the anarchical proceedings of the so-called “Liberals” Gomes, Vinagre, and Rodriguez.
See Bates, Naturalist on the River Amazons, 1863; H. H. Smith, Brazil, 1879.
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