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Essay on Look Before You Leap

Looking before you leap does not actually mean to think and then jump. But it means one must think of the consequences and then act. Humans at times without thinking take hasty decisions that are ill-advised.

They come with disastrous results. Before jumping into the river, one must know how to swim. More importantly, one must know the depth and current of the water. The essay Look Before You Leap Essay seeks to shed light on the importance of living one's life safely. 

Long Essay On Look Before You Leap

The long essay on look before you leap highlights the fact that it is always necessary to think deeply about every step in one's life. This avoids unnecessary problems. When one acts without thinking hard about their actions, several problems can haunt until death.

One must understand that the greatest gift God has given is life. Life is a bottomless pit that comes with no second chances. During childhood, one must have heard their grandparents often telling them; haste is waste.

They try to say that rushing into anything without proper planning, is a sheer waste of one's time and energy. Because the results are most likely going to end badly.

The look before you leap paragraphs will help one understand the phrase. In life, it is always better to look before you leap, or else there is a great danger of falling into the wrong place and that may ruin your life. To act without prior thinking will lead us into endless troubles and a waste of time and energy in all possible ways. Elderly people and many great successful people often say that haste always makes waste so plan whatever you do. Rushing into things without prior thinking and a proper plan will definitely lead to a waste of time, resources, and energy.

In life, humans make rash decisions. Then they end up filled with lifelong regret. All this can be avoided if one thinks before concluding. This never means that one must delay the actions and take their own time.

But think a few times about how the action can be done differently or avoided entirely. Decisions that are taken smartly and with intelligence helps in the long run. One must have heard about how Napoleon Bonaparte failed when he decided to take on Russia.

The simple reason being, he did not consider the weather. It not only destroyed his army but his confidence. An emperor whose attacking his enemies could never fathom skills was now a broken man.

It brought out the foolishness that many people tend to live on at times. They act without exercising good reasons and let their emotions guide them. On the other hand, people who tread with reason, logic, and understanding view the larger picture.

They visualize the harms and dangers before embarking on the journey. Such individuals know how to differentiate between the good and the bad.

Short Essay on Look Before You Leap

Life is full of ups and downs. The end depends on how one acts to it. This makes it extremely necessary for one to walk carefully and know the consequences of the actions beforehand. Doing so enables the person to avoid facing any problems later on.

Before the problem can surround them, they come to a wise decision and solve it effortlessly. With that being said, one must not act carelessly. Before one scales a wall or a boundary, they need to know the length and width.

One must not begin working before knowing everything about it. The foolish people tend to hurry up things without using their minds. This leads to unwanted problems in the end. The tasks do not get completed on time and have to be redone from scratch.

One must use caution because anything can happen in life. Successful people are known for their planning and caution. Pilots having a backup plan succeed in landing their plane safely, despite engine trouble.

At times, one has to make quick decisions in a split second, but these circumstances rarely come in life.

Conclusion  

Acting with proper thought never fails, and one can see that in occupations like pilots and train drivers. The essay on look before you leap suggests those who value their life, make wise decisions only after immense thought.

FAQs on Look Before You Leap Essay

1. What is the meaning of the famous saying look before you leap?

Looking before you leap actually means that you should think of the consequences before you get into the act. For example, You will not just step into a store to get any appliances before doing market research and scanning all the reviews for the product so for instance, you will check out all the costs and features before you buy a mobile phone. Hence we should plan things accordingly then jump into action.

2. Where did this Look before you leap saying actually come from?

The saying look before you leap is based on a story for kids, which was a fable written by author Aesop in the 500s B.C called The Fox and the Goat, and is actually derived from that moral story. In that short story, a fox falls into a well and cannot get out after trying so hard and a thirsty goat happens to pass by that well, and the fox actually talks sweetly and mesmerizes the goat by leaping into the well to get a drink. Finally, the goat will be in danger since it just jumped into the well without thinking.

3. What is the type of essay writing involved in English academics?

An academic essay is always focused on a type of piece of writing that develops an idea or argument using proper evidence, research, analysis, and original interpretation. There are many types of essays you might write as a student in your school and college. The content, area, or topic of interest and the length of an essay depends on your level of fluency of the language and subject of study, and course requirements. However, most essays at the university level are argumentative because they aim to persuade the reader of a particular position or try to convey the original perspective on any particular topic chosen.

4. What are the steps involved in writing an essay effectively?

Pick a topic that you think will have a greater impact on the reader or any topic in your area of interest. Mostly, it is better to choose something that interests you and your mind so that you will do more research and Brainstorm many unique ideas to present them well. Write down any idea that comes to your mind regarding that topic about the things you'd like to include, including the key points, examples, and illustrations which will make your essay more interesting. Finally, organize, put them into proper words and revise as many times as possible before you submit them.

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1992 WAEC English Language Theory Narrate a story to illustrate the warning: Look before you leap.

Narrate a story to illustrate the warning: Look before you leap.

Explanation

.                                     LOOK BEFORE YOU LEAP        Maria Kobina was the first daughter of her parents. She was loved by her parents who did everything to keep her happy by giving her all she demanded. Her parents relied on her to lead other children in the family with good examples to follow.        Maria was sent to school because her parents believed in education. After the completion of her primary education, they sent her to a boarding school. Her parents used to visit her in the school always. They took proper care of her by providing everything she needed so that Maria could face her studies seriously.        In school, Maria had a friend called Julie who came from a very poor family. Julie lacked so many things. Though Julie was an indigent student, she was satisfied with what her parents could provide for her. In the first three years of Maria's stay in school, Julie was her only intimate friend while others were just mere classmates.        When Maria got promoted to SS2, her attitude and outlook changed. She started going to parties with some wayward girls who were her classmates. At one of the parties, she met Festus and they became lovers. Unknown to Maria, Festus was a houseboy to a rich man who entrusted him with all his belongings, including his fleet of cars. Festus always claimed that he was the only son of the rich man and because he always visited Maria in one flashy car or the other, Maria got infatuated with him.        One day, Maria informed Julie, her friend, whom she had almost neglected, about her love affair with Festus. Julie warned her friend against mistaking superficial love for a genuine one. Maria failed to listen to Julie's advice and before long she got pregnant for Festus. When-she told Festus that she was pregnant, it was too late and the pregnancy could not be aborted. Maria kept her pregnancy in secrecy and none of her friends and teachers could detect that she was pregnant because she always tucked out her blouse to conceal the pregnancy.        When the pregnancy was about five months old and both the students and teachers became aware, Maria went to see Festus in his master's house. "Let us run away to my parent's home and we will be there until you are delivered of the baby Festus suggested. Maria wondered whether the rich man's house was not the home that Festus was talking about. Do you mean that I should come and stay here in your father's house in the same town where my parents and mates will find me out?" Maria asked in confusion "In my parents home in a village in Cross River State", Festus replied. It was after Festus' reply that Maria now realised that she had been deceived to believe that Festus was the son of the rich man. She wept bitterly and regretted that she had not looked before leaping.

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. » Expansion of Ideas » Look Before You Leap

Expansion of an Idea – “Look Before You Leap” for Students / Teachers / Parents

Find the helpful expansion of the age-old adage, “Look before you leap”. Here, we delve into the idea that taking time to carefully consider your actions before making a decision can lead to more successful outcomes and greater satisfaction in life.

In today’s fast-paced world, we are often encouraged to act quickly and impulsively, without taking the time to fully evaluate the potential consequences of our actions. However, we believe that it is important to approach decisions with intention and mindfulness, in order to make choices that align with our values and goals.

At the heart of our philosophy is the belief that taking time to carefully consider your actions can lead to more successful outcomes and greater satisfaction in life.

• Look Before You Leap

The proverb “Look before you leap” is a cautionary statement advising people to assess risks and consequences before taking action. It emphasizes the importance of careful consideration and planning before making important decisions or taking action, especially when there is potential risk involved.

The phrase implies that rushing into something without thinking through the potential outcomes can lead to negative consequences. For instance, making a hasty decision without evaluating the possible outcomes can result in financial loss, physical harm, or damage to one’s reputation.

In essence, the proverb “Look before you leap” reminds us to take a step back and analyze the situation before making a decision. This means examining all the factors involved, weighing the pros and cons, and considering the potential consequences. It’s important to consider how our actions will affect ourselves and others around us, and to be aware of any potential risks.

Looking before you leap is especially important when facing a difficult decision or situation. It can be tempting to act impulsively or on emotion, but taking the time to assess the situation will help to ensure that you make a more informed and rational decision.

In conclusion, the proverb “Look before you leap” serves as a reminder to always consider the potential risks and consequences before taking action. By carefully evaluating the situation, weighing the pros and cons, and considering the potential outcomes, we can make more informed decisions and avoid negative consequences. This principle applies not just to big decisions, but also to everyday actions, as being mindful of our actions can help us avoid negative outcomes and make better choices in all aspects of life.

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Look before you leap – Proverb Meaning, Expansion And Story

The proverb “look before you leap” advises individuals to exercise caution and consider the potential consequences or risks before taking action. It emphasizes the importance of thoughtful decision-making and encourages people to gather information, assess the situation, and weigh the possible outcomes before proceeding. By adopting a measured approach, one can avoid impulsive or hasty choices that may lead to unfavorable outcomes or regrets. The proverb serves as a reminder to pause, evaluate, and make informed decisions, acknowledging that a moment of reflection can prevent unnecessary mistakes and ensure a more successful and fulfilling path forward.

Understanding The Idea :

The proverb “look before you leap” embodies the wisdom of careful consideration and thoughtful analysis before taking action. It urges individuals to exercise prudence and evaluate the potential risks, consequences, and alternatives before making decisions or embarking on a new endeavor.

In a fast-paced world filled with distractions and pressures, the proverb reminds us of the importance of pausing, reflecting, and gathering information before leaping into action. It emphasizes the value of foresight and planning, rather than succumbing to impulsive choices that may have unintended or adverse outcomes.

Looking before leaping involves assessing the situation, understanding the potential challenges, and weighing the potential benefits against the risks. It encourages individuals to evaluate the feasibility, viability, and potential impact of their decisions. By taking the time to analyze the various factors at play, one can make more informed choices, minimizing the likelihood of regret or detrimental consequences.

The proverb is particularly relevant in situations where the stakes are high or the outcomes are uncertain. It advises against hasty or reckless behavior, urging individuals to consider long-term implications and potential obstacles that may arise along the way. By engaging in careful planning and foresight, individuals can anticipate potential pitfalls, make contingency plans, and increase their chances of success.

Moreover, looking before leaping encourages individuals to seek advice, guidance, or insights from others who may have experience or expertise in the relevant field. Consulting with trusted mentors, professionals, or knowledgeable individuals can provide valuable perspectives and help in making well-informed decisions.

The proverb extends beyond individual decision-making and applies to various aspects of life, such as personal relationships, financial matters, career choices, and even societal issues. It advocates for prudence, diligence, and a measured approach to ensure that actions align with personal values, goals, and long-term aspirations.

However, it is essential to strike a balance between thoughtful consideration and analysis paralysis. Overthinking or excessive hesitation can hinder progress and prevent one from seizing opportunities. Therefore, while it is crucial to look before leaping, it is equally important to recognize when a reasonable level of risk is necessary for growth and advancement.

In summary, the proverb “look before you leap” promotes a mindset of prudence, forethought, and careful evaluation. It encourages individuals to embrace a measured approach, considering the potential risks and rewards before making decisions or taking actions. By adopting this mindset, individuals can enhance their decision-making skills, minimize regrets, and navigate life’s challenges with greater confidence and success.

Story 1: A Beautiful Story on “Look before you Leap”

In the bustling city of Mumbai, a young woman named Aisha aspired to break societal norms and pursue her dreams. Despite the traditional expectations placed upon her, she yearned to become an accomplished artist.

Aisha possessed an innate talent for painting and a boundless imagination that breathed life into her artwork. However, her conservative family held reservations about her unconventional career choice. They insisted she follow a more traditional path, urging her to prioritize stability and security over her passion.

Determined to forge her own path, Aisha sought solace in the vibrant streets of the city, where she discovered a community of like-minded artists who supported one another. Encouraged by their camaraderie, Aisha gathered her courage and decided to showcase her artwork at a local art exhibition.

As the day of the exhibition approached, Aisha’s excitement mingled with nervousness. The bustling gallery overflowed with diverse paintings, sculptures, and installations. Aisha’s collection, inspired by the rich cultural heritage of India, narrated stories of resilience, harmony, and diversity.

To her surprise, Aisha’s artwork garnered attention from art enthusiasts, critics, and even renowned collectors. Her vibrant strokes and unique storytelling captivated the audience, leaving an indelible impression on their hearts. Amidst the admiration, a prominent art gallery owner, Mr. Kapoor, approached her, expressing interest in representing her and showcasing her work in an upcoming exhibition.

Aisha’s family, initially skeptical of her artistic pursuits, witnessed her success and newfound recognition. They slowly realized the depth of her passion and the impact she was making through her art. With hearts brimming with pride, they wholeheartedly supported her, breaking free from the constraints of societal expectations.

As Aisha’s career soared, she never forgot her roots. She used her artwork to shed light on societal issues, gender equality, and cultural preservation. Her paintings became a medium for change, inspiring conversations and sparking a sense of unity among diverse communities.

Aisha’s journey became an inspiration to countless aspiring artists across the country. She established an art foundation to provide scholarships and resources to talented individuals from underprivileged backgrounds, ensuring that financial constraints would not limit their artistic endeavors.

Through her artistry, Aisha not only transformed her own life but also contributed to the rich tapestry of India’s cultural landscape. She proved that one could transcend societal expectations, embrace their passion, and create a profound impact.

Her story echoes the spirit of countless individuals in India who challenge societal norms and pursue their dreams, leaving an indelible mark on society. Aisha’s journey exemplifies the resilience, determination, and creativity that characterize the diverse tapestry of Indian culture, demonstrating that pursuing one’s passion can lead to personal fulfillment and positive change for the world around them.

Story 2: A Beautiful Story on “Look before you Leap”

In a small village nestled amidst the majestic Himalayas, lived a young boy named Arjun. The village, untouched by modernization, thrived on age-old traditions and a close-knit community. Arjun, brimming with curiosity and a thirst for adventure, yearned to explore the vastness of the world beyond their village.

One day, a group of travelers arrived in the village, sharing tales of a hidden treasure buried deep in a mystical forest. The mere mention of treasure sent a wave of excitement through the villagers, and whispers of untold riches filled the air.

Arjun, captivated by the prospect of adventure and wealth, decided to embark on a quest to find the legendary treasure. He bid farewell to his family and friends, promising to return with unimaginable riches that would transform their lives forever.

Armed with a worn-out map passed down through generations, Arjun ventured into the dense forest, braving treacherous terrains and unpredictable weather. Along his journey, he encountered wild animals, navigated through winding rivers, and faced moments of doubt and exhaustion.

Days turned into weeks, and weeks into months, as Arjun delved deeper into the heart of the forest. The villagers back home grew anxious, fearing they had lost their beloved Arjun to the perils of the unknown. However, their faith in his determination and bravery kept their hopes alive.

In the midst of his arduous journey, Arjun stumbled upon an ancient temple hidden in the forest. Drawn to its mysterious aura, he entered the temple, only to be greeted by a wise sage who resided within its walls. The sage, perceiving Arjun’s quest for material wealth, spoke with compassion and wisdom.

He revealed that the true treasure lay not in gold or jewels, but in the experiences, relationships, and knowledge gained along the journey. He urged Arjun to reflect on the values he held dear and the impact he desired to make in the world.

Arjun, humbled by the sage’s words, realized the depth of his misguided pursuit. He understood that the true wealth was found in the love of his family, the bonds of friendship, and the richness of his village’s culture.

With newfound clarity, Arjun decided to abandon the search for the mythical treasure. Instead, he returned to his village, where he dedicated himself to preserving their traditions and uplifting his community. He shared the wisdom he had gained from the sage, encouraging the villagers to cherish their heritage and nurture the bonds that held them together.

Over time, Arjun’s village transformed into a vibrant hub of cultural preservation and community development. They celebrated their unique traditions, organized festivals that attracted visitors from far and wide, and empowered the younger generation to embrace their roots while pursuing their dreams.

Arjun’s journey became legendary in the village, not for the riches he found, but for the wisdom he brought back. His story taught the villagers that the true treasure lies in the intangible aspects of life — love, compassion, and the bonds that tie us to our roots.

From that day forward, the villagers embraced the proverb “the real treasure is in our hearts,” cherishing the invaluable wealth of their traditions, community, and the joy found in simple moments shared with loved ones. And in the heart of the Himalayas, the village thrived, reminding the world that true wealth is not measured in gold, but in the richness of the human spirit.

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Phrase Finder

• Look before you leap

What's the meaning of the phrase 'Look before you leap'?

Check that you are clear what is ahead of you before making a decision that you cannot go back on.

What's the origin of the phrase 'Look before you leap'?

The intuitive notion that this phrase derives from the undeniable wisdom of checking a fence before jumping over it on horseback appears to be misguided. Such behaviour is and was common enough amongst riders to have been given a name, that is, ‘craning’. Nevertheless, the proverb as first recorded refers specifically to the rashness of leap unpreparedly into marriage. This proverb is first recorded in John Heywood’s A Dialogue conteinyng the nomber in effect of all the Prouerbes in the Englishe tongue , 1546:

And though they seeme wives for you never so fit, Yet let not harmfull haste so far out run your wit: But that ye harke to heare all the whole summe That may please or displease you in time to cumme. Thus by these lessons ye may learne good cheape In wedding and all things to looke ere ye leaped

The Miracles brought the idea up to date in 1960 with Smokey Robinson’s Shop Around :

Just because you’ve become a young man, now, There’s still some things that you don’t understand, now. Before you ask some girl for her hand, now, Keep your freedom for as long as you can, now. My mama told me, “You better shop around”.

See also: the List of Proverbs .

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• The proverbs of John Heywood

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Intermediate English 11th Moral Story Look Before You Leap

1st Year Notes, FSc Notes, ICS Notes, FA Notes

Once there was a hunter who had a very faithful dog. The dog had a special attachment to the hunter. He had saved him from wild animals many times. One day the hunter’s wife was not at home and he had to go out hunting, leaving his six-year-old son alone at home for the watch of the dog. His son was too young for the hunter to take him along for hunting.

In his absence, a wolf entered the house and made its way to he baby’s room. He was about to kill the baby when the dog sprang upon him and both had a hard fight. Finally, the dog killed the beast and saved the boy from any harm.

When the hunter returned home in the evening, the dog met him at the door. He saw the dog’s snout red with blood. As usual, the dog started licking his feet. The hunter entered the house and saw more smudges of blood in the yard. He thought the dog had killed the child. He flew into rage, picked up his gun and shot the dog dead. On entering the baby’s room, he found his child safe and sound. A dead wolf was lying by his side. The man realized his mistake. He felt very sorry for what he had done, but crying over spilt milk was no use.

Look before you leap. Haste makes waste.

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Essay on “Look Before You Leap” Complete Essay for Class 10, Class 12 and Graduation and other classes.

Look Before You Leap

Best 4 Essays on “Look Before You Leap”

Essay No. 01

It is true that life is leaping action, but one must look or consider before leaping. Life on this earth is full of hurdles and pitfalls, therefore, it is often dangerous to take a step without due deliberation and thought. Haste makes waste. Life than an imprudent and emotional man. Before plugging in a tank full of water, one should know the depth of the water. But do remember one thing, life is action and not just detain us for long. Only due consideration is necessary, more consideration may hamper action. And then in a situation that demands immediate action, it is always advisable to move without thinking too much.

Essay No. 02

Look before You Leap

Importance Of Caution In Life

It is important that we should look before we leap, because many people, especially young people leap into darkness without looking. Life is all darkness and we should not take hasty steps at any time of our life.

It is important to be cautious and careful at every step of our lives. The death of Sanjay Gandhi proves the importance of looking before you leap. He did everything rashly without using necessary caution and carefulness. That is why he died in the acrobatic plane of which he knew nothing. The plane was not tested properly and it was not airworthy. It was not intended to be used at a height less than five thousand feet, but he threw all the cautions to the winds and consequently paid a heavy price for his rashness. The death of Sanjay Gandhi should be an eye-opener to all the young people who are foolhardy enough to sow whirlwinds and reap whirlpools.

“Live dangerously” was a slogan of Mr. Jawaharlal Nehru which he repeated to the gathering of the youth and advised them to lead dangerous life for the sake of adventure and the freedom of India. As a slogan “Live dangerously” is O.K. But caution is even more necessary than adventure and living dangerously. It is this kind of slogan which went into the blood of Sanjay Gandhi and cost him his precious life. It may be said that Nehru killed Sanjay Gandhi because Sanjay followed the philosophy of his grandfather and chose to live dangerously rather than cautiously and carefully. In fact, Sanjay did not look carefully in the darkness of ignorance before he leap to his death.

Living safely is more important than living dangerously. We must use caution and carefulness at every step of our lives. Anything can happen at any time. Life is a big chasm and there is only a hair-breadth’s difference between life and death. If you do not use proper caution, you do not know what may happen to you at any time of your life. The smallest negligence may lead to tragic events. Aero planes fall because of little caution on behalf of the pilots.

Something like the following proverb is common in the English language: –

For want of nail, the shoe was lost,

For want of shoe, the horse was lost,

For want of horse, the rider was lost,

For want of rider, the war was lost,

All war lost for want of a nail.

Essay No. 03

Look Before You Leap  

This proverb means we should think twice before starting any work. We should not start any work before examining all its aspects. Those who plunge into work without thinking have to repent at a later stage. Only fools rush into a new venture without applying their mind. Wise men do not start anything before considering all its aspects. Those who do little thinking come to grief in the long run. By the time they realize their folly, things go out of their control. Things done can’t be undone. There are people who do things in haste. The result is a wastage of resources, time, and energy. No doubt there are certain other people who have to take up decisions at the spur of the moment. But such situations arise only rarely. In normal situations, it is wise to think first and to act afterward. Success comes naturally to those who first plan things and then plunge into action. Hasty actions should be avoided.

Essay No. 04

Look before you leap

Before we do anything, we should think well about it and all its possible consequences. Hasty and thoughtless actions should be avoided because they could put us in trouble. Since it is not always possible to know in advance all the consequences of our actions exactly, we should be sensible enough to prepare ourselves to face all likely consequences. Risk-taking may be justified in certain cases in which its benefits are likely to be substantial. But, it is important that risks be taken only after due thought and with due precautions, in order to minimize the effects of possible failure. Proper thinking before our actions may also give us easier and better alternatives to carry them out.

(117 words)

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English Short Story “Think before you leap” for School, College Students, Moral Story for Class 7, 8, 9, 10, Class 12, College Exams.

Think before you leap

Story No. 01

There lived a man near the outskirts of a town. He had a wife, a child and a dog. The dog was extremely faithful and loyal and looked after the house like an obedient servant. The master was very fond of him. One day the man and his wife went away to attend a party. They left the baby and the house in the charge of the pet dog. On returning they saw blood scattered everywhere. They saw the dog sitting in a corner. At once they concluded that the dog had killed their child. The man flew into a rage. He hit the dog with an iron rod and killed him then and there.

The husband and the wife entered the back room. To their astonishment they saw their child kicking in the cradle. They also saw a wolf lying dead near it. The man started weeping realizing his blunder. He repented killing the saviour of his only child. But it was too late. He gave a decent burial to his loyal dog. His mistake tortured him all his life.

Moral: Think before you leap.

Anger kills reasoning power.

Story No. 02

Look Before You Leap

When the lion was old and tired, he realized that if he still wanted to get enough to eat, he would have to resort to more cunningness and less force. So, he pretended to be sick and retired in his den. Then, every time one of his subjects came by, the lion would reach out with his paw, grab the visitor and ate him.

Thus, came the fox’s turn, but the fox remained at the entrance.

‘Do come in, fox!’ said the lion cordially. ‘Thank you, but I’d really rather not,’ the fox replied. ‘Although I can see so many footprints going in, I cannot see one which comes out!’ It is rightly said, “Well goes the case when wisdom counsels.”

Your own eyes may be your best witness.

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Look before you leap.

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look before you leap

Meaning | Synonyms

• to make sure that everything is alright before doing something important which you cannot revert
• to think of the consequences of one’s actions before taking them
• to imagine the likely effect before making crucial verdict
• to calculate the possible consequences before taking immense action

Example Sentences

• You better check out the costs that you will have to incur through the duration of this lawsuit before filling it. It is always better to look before you leap .
• I had asked him to look before he leaped when he was planning to buy those stocks. Look what he has got himself into now!
• The girl rally should have looked before she leaped into this marriage!
• My children know very well to look before they leap into such business deals. They have learnt about the business from the best after all, me!
• The family was asked to look before they leap into buying this house. People in the village say that it is haunted by the ghost of the lady that lived here many years back.
• It is better to look before you leap when taking such political stands these days. You never know who is on your side and who will cause you harm for it.

The phrase has been the moral of the story for many child stories including Aesop’s fable which was about a fox which fell into a well and since he was unable to climb out he convinced a goat to jump in.

Share your opinions 2 Opinions

‘look before you leap’ means:

• be successful

‒ Sazzad Hossain November 24, 2018

It is true because I am having experiences

‒ Bhagya August 7, 2018

What's on your mind?

Assorted , Before

Similar Idioms

• aid and abet
• old habits die hard

Look Before You Leap – A Short Paragraph for children

Look before you leap.

This proverb means that we should think deeply before doing any action. Rash and thoughtless action always land us into trouble. Haste always makes waste. It is prudent to look into the pros and cons of the action we take. We must think twice before we act. The results of such an action may prove rewarding. Our decision must be governed more by head than by heart. A person who thinks properly before taking any step is always successful. Sheer repenting cannot mend the damages done by our hasty action. There is no use of crying over split milk. Lake of careful forethought and sound judgement makes our labour fruitless. We should use care and caution if we want to avoid failure and frustration in life. If you want to cross a canal, assess its depth and then proceed. If you want to build a house, plan it first and then build it.

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LOOK BEFORE YOU LEAP

Once a fox was roaming around in the dark. unfortunately, he fell into a well. he tried his level best to come out but all in vain. so, he had no other alternative but to remain there till the next morning. the next day, a goat came that way. she peeped into the well and saw the fox there. the goat asked "what are you doing there, mr. fox" the sly fox replied, "i came here to drink water. it is the best i have ever tasted. come and see for yourself." without thinking even for a while, the goat jumped into the well, quenched her thirst and looked for a way to get out. but just like the fox, she also found herself helpless to come out. then the fox said, "i have an idea. you stand on your hind legs. i'll climb on your head and get out. then i shall help you come out too." the goat was innocent enough to understand the shrewdness of the fox and did as the fox said and help him get out of the well. while walking away, the fox said, "had you been intelligent enough, you would never have got in without seeing how to get out." that's why we say, "look before you leap". the end...

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Lapham’s quarterly, look before you leap.

Seeing what’s right in front of us in portraits from the past.

By Patricia A. Matthew

Monday, November 04, 2019

Portrait of Louise de Keroualle, Duchess of Portsmouth , by Peter Lely, c. 1671. The J. Paul Getty Museum , Los Angeles. Digital image courtesy the Getty’s Open Content Program.

Louise-Renée de Kéroualle, Duchess of Portsmouth, is the subject of fifteen portraits in London’s National Portrait Gallery. She is alone in fourteen of them. Her curly hair, often parted to suggest that she’s not wearing a wig, is her defining feature. There is a wanton quality to how it’s arranged, lush and flowing even when it is carefully coiffed. In some of the portraits it seems as if the duchess, mistress to a king, has thrown on clothing only for modesty’s sake. Her expensive gowns and robes are simply draped over her shoulders rather than completely fastened and buttoned up. Born to a noble family in Brittany, she was one of Charles II’s mistresses but proved her loyalty to France by passing on information she gained in Charles’ courts back to Louis XIV’s.

In the one National Portrait Gallery painting where the duchess is not alone she stands next to a black child. A curatorial note suggests the little girl is primarily there as a status symbol. There are other paintings of the duchess at the J. Paul Getty Museum and the Victoria and Albert Museum, and scattered across other collections and galleries. It seems, however, that there is only one other painting where the duchess shares the frame. The Duchess of Portsmouth with an Attendant Carrying a Jewel Box , attributed to British portraitist Godfrey Kneller, currently hangs in philosopher Kwame Anthony Appiah and New Yorker editorial director Henry Finder’s New York City apartment. The other figure in the painting, the attendant of its title, is also black and female.

Without the dress and pearls, the black child in the National Portrait Gallery painting might be mistaken for a boy. Her hair is cut close to her scalp, and there’s nothing delicate about her features. She looks quite young and has dark brown skin. Her face, turned up toward the duchess and smiling, is round. The green of her elegant dress complements the shrubbery just behind the duchess. Her single strand of pearls might, at first glance, seem incongruous—not just because she’s black but because she looks so young. Child figures dressed this opulently aren’t rare, but their style of dress is normally a sign not only of the class they were born into but of their future wealth as well. When we see little white girls of this period dressed this elegantly, we understand that they are adorned members of wealthy families, where they are being cultivated to participate in and contribute to the family’s wealth through marriage and the production of male heirs. The young black girl wearing the pearls, who is offering the duchess a piece of coral and pearls in a shell, is an object herself to be collected, owned, and displayed. The duchess has her arm around the girl and is looking at the viewer.

The attendant in the other painting is older than her National Portrait Gallery counterpart, on the cusp of womanhood. The space around her and the duchess is heavily draped, with only a patch of blue sky to suggest a world outside. The duchess leans on a pedestal; the attendant, slight and brown, stands next to her. Her dress is elegant and the same red hue as the ribbon in the duchess’ hair. Her ears are decked out in pearls. The rouge on the attendant’s cheeks is the same shade the woman next to her wears. Her hair covering is arranged in the same way as the duchess’ and adorned with a red jewel. Autumnal colors dominate the painting. Everything about the young black woman suggests that she is not only an “attendant” but an accessory and an extension of the duchess’ image. Their expressions are even similar. The attendant, however, is not looking directly at the duchess. She stares at a point beyond the viewer’s line of vision, and we have no clear indication where her gaze lands. Everyone I’ve asked about the focus of her gaze has a different opinion about where it is directed. Wherever the attendant is looking, her countenance does not show the same adoration present on the little black girl’s face in the National Portrait Gallery painting.

I first saw the painting of the duchess when I attended a benefit one spring evening in 2018 at Appiah and Finder’s home. Depending on where you are in the apartment, it’s possible to see the duchess without even knowing the attendant is there. I first saw the painting from such an angle, not noticing the attendant until later in the evening. Trying to figure out that gaze and her expression—serene rather than adoring—sent me back to look at the painting with questions for Appiah not about the painting’s central figure but about the young woman by her side.

I n the past six years or so, I’ve become accustomed to seeing black figures in eighteenth- and nineteenth-century paintings in ways that countered my early training in art history, both in formal classes and in regular visits to museums and galleries. My art history education was more along the lines of H.W. Janson’s History of Art , which rarely included images of black people, than the multivolume The Image of the Black in Western Art . Figures like the attendant have made me reassess race and portraiture in art history, especially in the era literary scholars refer to as the Romantic period, which stretched from about 1790 to 1830.

Logistically speaking, this reexamination is an easier task now than it would have been even ten years ago with more art historians and critics, especially black ones, offering essential contexts and raising questions that move black figures from the margins to the center of art history, as in Charmaine A. Nelson’s Representing the Black Female Subject in Western Art and Simon Gikandi’s Slavery and the Culture of Taste . Kay Dian Kriz’s Slavery, Sugar, and the Culture of Refinement has become a sort of bible, explaining the story behind paintings like Johann Zoffany’s The Family of Sir William Young , which I first saw on the cover of the Oxford University Press edition of Maria Edgeworth ’s Belinda I used in graduate school. The 1801 didactic novel tells the story of the rather uninspiring Belinda Portman’s adventures on the marriage market and the married women helping her sort through the tensions between duty and desire. The cover of the Oxford edition features a detail from the Zoffany painting of a black servant helping a white figure onto a horse, which reflects a thread in the narrative about the black servant of a West Indian suitor Belinda meets in the novel.

The cover was my first sign that the Romantic period was not as homogeneous as my professors had taught me in both college and graduate school. The Zoffany painting currently hangs in the Walker Art Gallery in Liverpool, and the curatorial note in the museum is telling in what it elides. Young’s family is the subject of the painting, and he is described as having “interests” in the West Indies, a euphemism that refers to the sugar plantation he owned. His investment in slavery is made clearer on the museum’s website, which goes into some detail about Young’s participation in the slave trade. Something is still missing, however. Although every other figure in the painting is accounted for by name and relationship, both the vague note in the museum and the more explicit online version mention the black figure in the painting without offering any information about who he is. This in itself isn’t remarkable. Servants are rarely identified in paintings, whether they are white or people of color. Yet the black figure is acknowledged only as a signifier of Young’s “interests in the West Indies.” The absence of any information about him stung when I saw the painting in person this summer.

Until the Belinda book cover, the paintings I encountered in college and graduate school that featured black figures were as limited and repetitive as the few black writers assigned. The only British Romantic-era text I was assigned that featured a black figure on the cover was The Interesting Narrative of Olaudah Equiano, which tells of his enslavement in childhood, after being kidnapped from his Igbo village and transported to Barbados, and buying his freedom. The covers of his autobiography usually feature one of two portrait images: a portrait by Daniel Orme that probably features Equiano and one that is probably Ignatius Sancho, born on a slave ship around 1729 and painted by Thomas Gainsborough in 1768. The men are interchangeable as a stock black figure. Similarly, the etching of Phillis Wheatley was the only pre–twentieth-century depiction of a black female I knew as a student. Digitization of museum collections and exhibits that focus exclusively on race and portraiture have pulled me more deeply into a broader study of Romantic-era portraiture and how it reflects and contributed to England’s abolitionist movements; as I work out a coherent narrative for these paintings, seeing the attendant required me to step back and think of black women in portraits before and beyond abolitionist debates.

When I went to see the painting again one fall afternoon a few months after the party, Appiah and I wound up having a wide-ranging conversation during my visit. He told me about different pieces in the apartment (the first portrait he showed me was a gift from his mother), and we talked about the technical and political aspects of the painting of the duchess—representing dark skin on canvas, the way that race and status are at play in its composition, the temporal and spatial geography that underscores how black figures appear in art. We discussed what identity means when it comes to unnamed figures in art and what they suggest about what black studies scholar and humanities professor Christina Sharpe calls “the asterisked histories of slavery, of property, of thingification, and their afterlives” in her book In the Wake: On Blackness and Being . What this has meant for me is working out what narratives about black figures in England emerge once we move beyond token images.

V isiting the Yale British Museum of Art’s 2014 exhibition Figures of Empire: Slavery and Portraiture in Eighteenth-Century Atlantic Britain transformed what had been mild curiosity into a more urgent set of questions. I was puzzled and mostly amused when Broadview Press’s 2002 edition of Emily Brontë ’s Wuthering Heights arrived with a Moor on the cover—not the desolate landscape I’d been accustomed to since first reading the book in high school but an actual black figure. The 2008 Broadview edition of the anonymously authored The Woman of Colour: A Tale , edited by Lyndon J. Dominique, has a woman of color on the cover, but I was so fascinated by the story that it didn’t register as significant. The Yale exhibit, however, included portraits, busts, books, and other artifacts showing that, rather than a painting here or there, there was an entire universe of black figures that, when taken together, tell a story about Britain, protest, taste, and gender politics. The attendant with her self-possessed pose and gaze fits into that world.

The Attendant would have been painted in the mid-seventeenth century, before the abolitionist debates in Britain were gathering strength. The attendant’s gaze and self-possession are very different from that of other portraits I’ve seen of black figures with white figures. Take the black woman in the 1760s portrait of Lady Elizabeth Keppel painted by Edward Fisher after Sir Joshua Reynolds. In this portrait the black figure is kneeling in much the same way as the black girl offering the duchess pearls in the National Portrait Gallery painting. Here the offering is a garland, with Keppel positioned between the black figure and a statue of Hymen, the god of marriage. The curator notes that Fisher lists the black woman simply as “negro” and that the presence of Hymen reminds the viewer that Keppel was a bridesmaid in the wedding of George III and Charlotte. I first saw the portrait in Amma Asante’s 2013 film Belle , about the nieces of the famous judge William Murray, 1st earl of Mansfield, and the different paths they take to marriage. (Critic Wesley Morris described the film as “California roll Jane Austen , a class drama loaded with political and romantic filler.”) Belle sees the painting early in the movie, and it foreshadows her particular marital conundrum. As Mansfield’s niece, she is expected to marry a member of the gentry, but as a woman of color, she is less socially appealing than her white cousin to the men in their social set. Her explanation of what marriage means to women brings to mind how white women like Mary Wollstonecraft compared the institution to slavery. “It seems silly—like a free negro who begs for a master,” Belle tells her suitor. The analogy works for her because she is Mansfield’s niece and possesses an inheritance from her white father. The composition of the painting is a reminder of a more common fate for black women. The white figure’s proximity to Hymen in the painting affirms her connection to marriage, a complicated institution for the black woman at her feet. Despite the opulence of the black figure’s clothing (the curatorial note explains the dress might have been a hand-me-down), marriage for the black woman either would have been denied outright or, as it was later in the West Indies, promulgated as a way to extend enslavement in the years up to and immediately following the 1807 Act of Parliament abolishing the transatlantic slave trade in the British Empire.

Yet both the attendant and the black woman in Fisher’s painting are depicted with more dignity than black women in etchings circulating in the late eighteenth century as the call for abolition increased in urgency. In Scottish caricaturist Isaac Cruikshank’s violent and satirical 1792 print The Abolition of the Slave Trade , the black woman at the center of the sketch is on a ship, suspended upside down and nearly nude with a cloth doing little to offer her modesty, while three nude black women huddle together at the back of the ship.

In the late 1790s, William Blake illustrated John Stedman’s Narrative of a Five Years’ Expedition Against the Revolted Negroes of Suriname, from the Year 1772–1777, Elucidating the History of That Country and Describing Its Productions with engravings , including one titled Flagellation of a Female Samboe Slave , that were so graphic and violent that eighteenth-century readers considered the book an antislavery treatise. The depictions of black women in these paintings are never neutral, either showing them in service to individuals (in the genteel portraits) or toward explicitly political ends (in the violent etchings).

S tedman’s Narrative includes the story of Johanna, which also was published separately as Narrative of Joanna, an Emancipated Slave . Blake illustrated her with one breast bared, far removed from explicit scenes of violence; the image is closer in tone to the illustrations in Maria Edgeworth’s 1804 short-story collection Popular Tales . This collection of didactic stories, written for young people, walks a careful line between teaching virtue without telling too much about vice. It includes a story called “The Grateful Negro” whose politics about subduing enslaved people with empty mercy is offensive to twenty-first-century readers and whose clunky, didactic prose must have chafed at the good taste of any nineteenth-century reader. A graduate professor gave me a late nineteenth-century edition of the stories printed by Cox Brothers and Wyman Printers in London. It includes an illustration of a scene featuring Clara, a black woman, tending to Caesar, the titular grateful negro who wants to marry her. She is presented in a domestic tableau that suggests that, despite her skin color and status, she is like many an ideal Englishwoman—compassionate, competent, and responsible for a peaceful home.

In 1826 Amelia Opie wrote about the horrors of sugar production in her poem “The Black Man’s Lament; or, How to Make Sugar.” The verse also was intended for children: “Who dares an English peasant flog?…Who sheds his blood? treats him like a dog?” Illustrations accompanying the poem depict enslaved women and men working side by side in sugar production, but Opie’s lines bring to mind a 1725 painting in the Yale exhibit of an elegantly attired girl in a garden with a dog and a person of color that was originally titled A Young Girl with a Dog and a Page . Pointing out that the dog and the “page” wear the same collar, the curators list the title as A Young Girl with an Enslaved Servant and a Dog . They not only correctly identify the page as enslaved (the collar would have been locked with a key held by someone else) but change the order so that the human is listed before the animal. The composition is familiar: both the enslaved man and the dog are staring at the young, white girl.

The most notable exception to such depictions is the painting of Dido Elizabeth Belle next to her cousin Elizabeth Murray, attributed to David Martin. These two women stand side by side as peers, both beautiful and both beautifully attired. This painting inspired Belle , the saccharine period romance that not only places the responsibility of the abolitionist movements on the shoulders of a woman of color behaving perfectly in every scene but also makes it seem like black and white women faced comparable obstacles to marital bliss in the eighteenth century. They didn’t, but Dido’s place in the Mansfield household is reflected by the agency the artist captures in the painting of her.

If the duchess’ attendant is looking off in the distance, Dido Elizabeth Belle is staring right at the viewer. It seems as if something or someone has amused her. And yet the artist (originally thought to be Zoffany) connects her to a world different than the one she was raised in, one that her cousin safely enjoys. While it’s true that Dido, the daughter of Royal Navy officer John Lindsay Murray and the enslaved Maria Belle, is standing next to her white cousin, looking at the viewer, she remains tied to the legacy of her mother’s position. She is wearing a turban with a feather and carrying a basket of fruit, a reminder that, although she has been raised in Britain as an heiress and a gentlewoman, she remains connected to labor. Her cousin, with flowers in her hair, is simply holding a book, a sign of leisure and not industry in the eighteenth century.

A cross from the attendant and the duchess, Appiah and Field have placed Portrait of a Gentleman with a Young Servant , a painting from the late 1730s attributed to Charles Phillips. The servant, a young man of color, is standing next to someone who, according to Appiah, might be Sir George Thomas, a governor of the Leeward Islands in the eighteenth century. The attendant on the other side of the room is black, but Appiah pointed out the young man in this painting could be Indian. Neither the attendant nor the servant is identified except by their skin color and status. We don’t know their names. Of course, names for black people were fluid—given, assigned, and reassigned for the convenience of those they were forced to serve—and their place in society would have been even more unstable. Appiah and I were less interested in the portrait’s primary figure than we were in the young man who probably made the trip with him from the Leeward Islands to England. The young man’s fate inevitably would change after the moment trapped in the suspended reality of paint. Sir Thomas would die, and the servant would be listed as property to be inherited, sold, or sent someone else. “People have to rediscover who they are,” Appiah said pointedly.

Working to make sense of asterisked lives represented in these paintings is not about discovery and rediscovery; looking backward at the various ways that black female figures circulate and are put to use is more than just filling in some gap in our understanding of the period. It also teaches us how we view the use of black figures today. It teaches what to see and how to read it. When I saw the attendant the first time, I was leaving the party. She stopped me, and I uttered some word of surprise. The second time I saw her, I asked Appiah if other visitors had asked about her. I’m always curious to know if other people see black figures who are clearly present but often ignored. He said they hadn’t, and we agreed that it might be because of where the viewer needs to be situated in order to even notice her. “You see her,” Appiah said, “when you get there.”

Contributor

Patricia A. Matthew

Patricia A. Matthew is an associate professor of English at Montclair State University, where she teaches courses on British Romanticism and the history of the novel. She is the editor of  Written/Unwritten: Diversity and the Hidden Truths of Tenure  and is currently writing a book about gender, sugar, and British abolitionist literature. She lives in Brooklyn, NY.

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English short, moral story “look before you leap” for kids and children for class 5, 6, 7, 8, 9, 10, competition with moral values..

A Fox and a Goat

Look before you leap.

A fox was walking near a well. Somehow by incident he slipped in. It was not a very deep well. He tried his best to get out but could not.

At that time a very thirsty goat passed by the well and saw the fox there. She asked the fox what he was doing there.

The cunning fox replied that he had himself jumped into the well. I find it very cool and pleasant. If you want to drink sweet and cold water, come down and experience the pleasure here.

Without thinking of the result she jumped into the well. The fox at once jumped on her back, and with another jump he was out of well. The fox smiled at the poor goat and went his way leaving behind the goat to repent.

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Michelle Buteau Sashays Into the Lead

Once relegated to supporting roles, this comedian is a star of the film “Babes” and is moving to a bigger stage, Radio City Music Hall, for her new special.

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By Melena Ryzik

“Oh my God, are we best friends?” the comedian Michelle Buteau said, 27 seconds into meeting me.

Honestly, it was a joke that felt like it could ricochet into reality. It didn’t. But that is the power of Buteau’s ebullient charisma, which telegraphs to audiences that her preternatural comic rhythm and dolled-up, side-eye style of delivery are in service of being a warmhearted bestie. To her TV, film, podcast and stand-up fans, she’s a moral center with a blue streak. “I truly, sincerely care,” she said, “about these bitches.”

The B-word is one that Buteau and her friend and co-star in the new comedy “Babes,” Ilana Glazer, roll and dice into multiple syllables and meanings , in a sisterhood built on tell-it-like-it-is endearments, unfiltered but uplifting, like Buteau’s comedy.

In “Babes,” which was directed by Pamela Adlon, Buteau plays an exhausted working mother of two young children, reconfiguring her life minute by minute, task by task, to accommodate her career, her family, her partner and her friendships. Also the occasional hallucinogenic trip and breast pump-destroying dance party.

In real life, Buteau does that (or most of it), and is both cleareyed and funny about it: “Every day feels like a panic room — I’m just searching for the next clue.” Having 5-year-old twins with her Dutch husband , a house in the Bronx, some dogs and an ascending, multistrand career is undeniably a lot; the movie reflects that, too. “There’s no such thing as balance,” she said, during a recent lunch interview. “You do what you can, when you can.”

In the last five years, Buteau, 46, has made the leap from a 20-year stalwart of the New York comedy scene to a headliner and the star of her own scripted Netflix series, “Survival of the Thickest,” loosely based on her 2020 essay collection of the same name, and heading toward its second season. With “Babes,” now in wide release, she also moves up from the BFF and assistants she played in Ali Wong’s “ Always Be My Maybe ” and Jennifer Lopez’s “ Marry Me ,” to a lead: the movie is centered on the friendship between Glazer and Buteau’s characters. It arrives as Buteau is preparing to film her second hourlong Netflix special, “Full Heart, Tight Jeans,” on June 6 at Radio City Music Hall.

Her stories in that show, which she toured last year, lean inclusive and positive in what the New Yorker critic Hilton Als has described as a comedy of kindness . It’s a style that bucks convention, the typical denigration of standup. She is “a luscious wisecracker,” he wrote, who “treats herself — and us — like a snack.”

Buteau has consciously positioned herself against other big-name comics who have griped about social change; onstage, she has called out Dave Chappelle by name for his anti-trans rhetoric. “I just want them to evolve a little bit more,” she said of her (largely male) peers. “I don’t know why it’s so unpopular to be open-minded.”

“I choose to lead with love because if I don’t — like, I would just be on the floor the whole time,” she added. “I’ve been through enough hard stuff,” including, as she describes in her book, reproductive struggles, colorism and body-shaming. “I want to be happy.”

Overstretched, she initially turned down “Babes,” which was filming right before she went into production on the first season of her Netflix series. But Glazer, the “Babes” co-writer and “Broad City” alum who’s been a friend for over a decade, repeatedly begged her to reconsider, trimming down scenes to fit her schedule. “She’s just a bright, shining star — she doesn’t suck air out of the room,” Glazer said. “She gives light, and then we’re all lit up.” Even when Buteau pokes fun, “it’s never seeking to destroy. It’s curious, you know what I mean? She is naturally celebratory.”

Buteau’s self-confidence is expansive. It must feel good to be you right now, Stephen Colbert told her during a recent appearance on “The Late Show,” ticking off her accomplishments. It does, she agreed. “But it always felt good.” In her last special, she described her looks as “an achievable Beyoncé for government workers.”

Buteau grew up in New Jersey, the only child of a Jamaican mother and a Haitian father. It was a deeply Catholic household — an uncle is the archbishop of Jamaica — with large, raucous gatherings, courtesy of her Caribbean extended family in Brooklyn, and an explicit reggae soundtrack. The B-word (or as she now sometimes says, “bish”) was always part of her vocabulary, she said.

Still, “I didn’t know I was funny,” she said. “I just thought I was surviving — trying not to get beat up in Jersey, or, whatever racist teacher I had, trying to defuse their toxicity.”

Her first ambition was to be an entertainment reporter, but a college professor told her, in front of the class, that she was “too fat to be on camera,” she recalled. “And I believed him, because Downtown Julie Brown” — the ’80s and ’90s MTV V.J. — “wasn’t a size 18.” Buteau went into production, becoming a news editor at local TV stations, where colleagues suggested she had the chops for comedy. That surprised her: “I’m like, really? I thought I was just happy. When I started working in the news, I realized how sad people were.”

Buteau’s stand-up origin story is either depressing or uniquely hopeful: She first got onstage on Sept. 14, 2001, after editing footage about the attacks three days before, and realizing she needed a different path.

Her family was not initially supportive. Talking about penises onstage “after he paid for college in cash?” she said of her father, an international auditor. Her mother, a customs broker, “was really sad.” And she didn’t want to ask them for money. So she continued to work her midnight production shift, going from comedy clubs to the newsroom, for six years, building up her network of besties along the way.

“I met Michelle at a grimy club in San Francisco that doesn’t exist anymore,” Wong, the comedian and Emmy-winning actress, said. “I was truly blown away by how funny and original she was. And I knew that if she had traveled all the way to San Francisco to perform at a place where the carpet was riddled with dry semen, she was going to make it.”

Besides their comic chemistry, Wong cast Buteau in her rom-com because “she’s just a very nurturing person offstage,” Wong said. “I just wanted an excuse to spend a lot of time with her.”

Over a delightful pasta lunch on the Upper West Side, Buteau riffed on making things happen and loving New York. She once lived nearby, in a building that was like “a Jewish retirement center,” she said. “No one thought I lived there; they thought I was, like, a nanny. And then — I don’t know how this rumor got started — I was Harry Belafonte’s niece. I wasn’t fighting it. I was like, ‘Yes, Esther, that’s who I am.’”

Her material can be raunchy, but there’s also a layer of graciousness to it: If she had her own perfume, she wrote in her book, it would be called “Just Sassy Enough.” But she makes a point to showcase lust and relationships, like how her one-night stand with a tourist, Gijs van der Most, turned into marriage. He’s a photographer and furniture store owner , and she has mined a lot from their cultural differences , although now she’s careful. “I don’t want him to always feel like he’s content,” she said.

In “Survival of the Thickest,” her character, a body-positive fashion stylist reeling from a breakup after catching her boyfriend cheating, barely suffers a night alone. The comedy is not in her wallowing, but in her harnessing her inherent sex appeal and ambition, and she meets-cute with a charming Italian man before the end of the season. In “Babes,” she has a supportive and adoring husband (Hasan Minhaj) who helps her through the waves of overwhelm.

For Adlon, a creator of the series “Better Things” who made her feature directing debut with “Babes,” the idea was to upend in a sneaky way the traditional Hollywood pregnancy and motherhood narratives (ineffectual spouse; postpartum bodies that immediately “bounce back”). “I like to do TED talks inside of a Milky Way bar,” she said. “Like, it’s delicious going down.”

Buteau was instrumental. “She’s just a perfect comedy machine,” the filmmaker said — although for this role, Adlon did direct the comedian to do less. “She’s like, you’re tired — lean into that; be still,” Buteau said. She worked on quieting her grandly expressive face. “You know, in stand-up comedy, you don’t want to hear any silence,” Buteau said, adding, “Pamela’s like, ‘Just take your time.’ And that’s real life.”

In her own show, “Full Heart,” Buteau hopes to have that breathing space, too, to tell stories “and just live in them,” she said. “Playing these bigger theaters has really allowed me to kind of grow into the comedian I’ve always wanted to be.”

It was expensive to book and challenging to fill, but choosing a large, notable venue like Radio City — where she opened for Jonathan Van Ness, the “Queer Eye” personality, a few years ago — was meant to be an explicit message, she said, to other generations of performers, especially marginalized ones , that they belong on a big stage, too.

“I’m excited,” she said. “I mean, I want to take a poop every time I think about it. It keeps me regular, in more ways than one.”

Melena Ryzik is a roving culture reporter at The Times, covering the personalities, projects and ideas that drive the creative world. More about Melena Ryzik

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