Universal application of the parable can be seen with credit to a whole range of literature and the plastic arts. Baldwin (1987) compiles a bibliography of the parable's use with a view toward illustrating the critical position of Christian art and literature in Western culture. O'Meara (1970) sees a correspond between the Confessions of St. Augustine, which autobiographically chronicles the life of a profligate who transformed his life. He cites Augustine's absorption with the confluence of themes of reconciliation, "mystical ascent," and more generally conversion, and locates that preoccupation with the parable of the prodigal son. Indeed, the famous passage from Augustine strongly recalls the prodigal's aspiration to humble himself before his father: "Too late love I Thee, O Thou Beauty of ancient days, soon enough ever new! too late I love Thee! . . . Thou flashedst, shonest and scatteredst my blindness" (in Freemantl
notwithstanding to be frank, and give it thee again.
And yet I wish still for the thing I have:
Scott (1977) cites the traditional equation of the elder son with the Pharisees, only to reject it as incomplete. His main stagecoach is that the original readers of the parable would have brought to it a special brain of the privileges of elder versus younger sons, implying that this parable would have spoken in particular to the Christian interpretation of social constructs of the period. For example, the popular myth of the younger son is that he might be abandoned over to wantonness, while the same myth of the elder is that as the principal heir he would be expected to extradite responsibly. Indeed, the parable bears out this stereotype of expectations. As Fromm points out, "The emphasis of the Jewish religion was (especially from the beginning of our era on) on the right wy of keep" (Fromm, 1970, p. 66).
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