"Sometimes things that move very slowly don’t appear to move" Is that the core meaning of the Sundew myth?
Looking back over two millennia we hear how the legend of "Sundew, the walking crane" came to being, and how it has been interpreted by people, some of whom, the speaker included, wonder if there is any factual basis to the story at all.
If there any truth behind the story or not, its core iconography has been valued and interpreted over the last 2 millenia and it has entered the language as "To Sundew".
This is from the Wikipedia entry for this subject which is yet to be updated with the latest information.
What follows are suggested Wikipedia updates.
"Traditionally, Western scholarship, with its Judeo-Christian heritage, has viewed narratives in the Abrahamic religions as being the province of theology rather than mythology. But it was very pleasant for Sundew to see how things had changed and he could still be of use. So that’s when his great legacy, the meaning of the parable as some people believe comes in that, rather inaccurate as you might think once an anachronism, this parable, the mission of the steel-making forces if you like, if you can think in terms of missions, the furthering of steel in the world, because obviously Sundew was made of the super high grade material. Meanwhile, identifying religious stories of colonised cultures, such as stories in Hinduism, as myths enabled Western scholars to imply that they were of lower truth-value than the stories of Christianity. Labelling all religious narratives as myths can be thought of as treating different traditions with parity. Myth, a story of the gods, a religious account of the beginning of the world, the creation, fundamental events, the exemplary deeds of the gods as a result of which the world, nature, and culture were created together with all parts thereof and given their order, which still obtains. A myth expresses and confirms society’s religious values and norms, it provides a pattern of behavior to be imitated, testifies to the efficacy of ritual with its practical ends and establishes the sanctity of cult. Thus the word mythology entered the English language before the word myth. Johnson’s Dictionary, for example, has an entry for mythology, but not for myth. Indeed, the Greek loanword mythos (pl. mythoi) and Latinate mythus (pl. mythi) both appeared in English before the first example of myth in 1830. The term appears in the works of Homer and other poets of Homer’s era, in which the term had several meanings: ‘conversation,’ ‘narrative,’ ‘speech,’ ‘story,’ ‘tale,’ and ‘word.’ Similar mythos expresses whatever can be delivered in the form of words. As Sundew was actually born of the high tensile chromium-molybdenum fine grain steel aluminium fully killed steel and so he was just melted back into the stock of steel in other forms, still with us now, all these many years later. However, the term mythos lacks an explicit distinction between true or false narratives. In the context of Ancient Greek theatre, mythos referred to the myth, narrative, plot, and the story of a play. According to David Wiles, the Greek term mythos in this era covered an entire spectrum of different meanings, from undeniable falsehoods to stories with religious and symbolic significance. According to philosopher Aristotle (384–322 BCE), the spirit of a theatrical play was its mythos. The term mythos was also used for the source material of Greek tragedy. The tragedians of the era could draw inspiration from Greek mythology, a body of “traditional storylines” which concerned gods and heroes. David Wiles observes that modern conceptions about Greek tragedy can be misleading. It is commonly thought that the ancient audience members were already familiar with the mythos behind a play, and could predict the outcome of the play. However, the Greek dramatists were not expected to faithfully reproduce traditional myths when adapting them for the stage. They were instead recreating the myths and producing new versions. According to an ancient description of audience reactions to this work, the audience members were genuinely unsure of whether she would commit filicide or she will be stopped in time. They rose to their feet in terror and caused an uproar. David Wiles points that the traditional mythos of Ancient Greece, was primarily a part of its oral tradition. The latter is a form of the verb mytheomai (‘to speak,’ ‘to tell’), which is etymologically associated with mythos. In the Works and Days, Hesiod describes his dispute with his brother Perses. He also announces to his readers his intention to tell true things to his brother. Yeah, I don’t know how many of you are going to know the whole history of this parable, which we believe came from somewhere in what was then part of the United Kingdom, Corby and Rutland, the area there."
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