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The Allegory of the Cave, or Plato's Cave, is an allegory presented by the Greek philosopher Plato in his work Republic (514a–520a) to compare "the effect of education (παιδεία) and the lack of it on our nature". It is written as a dialogue between Plato's brother Glaucon and his mentor Socrates, narrated by the latter. The allegory is presented after the analogy of the sun (508b–509c) and the analogy of the divided line (509d–511e).

In the allegory "The Cave", Plato describes a group of people who have lived chained to the wall of a cave all their lives, facing a blank wall. The people watch shadows projected on the wall from objects passing in front of a fire behind them and give names to these shadows. The shadows are the prisoners' reality, but are not accurate representations of the real world. The shadows represent the fragment of reality that we can normally perceive through our senses, while the objects under the sun represent the true forms of objects that we can only perceive through reason. Three higher levels exist: the natural sciences; mathematics, geometry, and deductive logic; and the theory of forms.

Socrates explains how the philosopher is like a prisoner who is freed from the cave and comes to understand that the shadows on the wall are actually not the direct source of the images seen. A philosopher aims to understand and perceive the higher levels of reality. However, the other inmates of the cave do not even desire to leave their prison, for they know no better life.

Socrates remarks that this allegory can be paired with previous writings, namely the analogy of the sun and the analogy of the divided line.

"Misirlou" (Greek: Μισιρλού < Turkish: Mısırlı 'Egyptian' < Arabic: مصر Miṣr 'Egypt') is a folk song from the Eastern Mediterranean region. The original author of the song is not known, but Arabic, Greek, and Jewish musicians were playing it by the 1920s. The earliest known recording of the song is a 1927 Greek rebetiko/tsifteteli composition. There are also Arabic belly dancing, Albanian, Armenian, Serbian, Persian, Indian and Turkish versions of the song. This song was popular from the 1920s onwards in the Arab American, Armenian American and Greek American communities who settled in the United States.

The song was a hit in 1946 for Jan August, an American pianist and xylophonist nicknamed "the one-man piano duet". It gained worldwide popularity through Dick Dale's 1962 American surf rock version, originally titled "Miserlou", which popularized the song in Western popular culture; Dale's version was influenced by an earlier Arabic folk version played with an oud. Various versions have since been recorded, mostly based on Dale's version, including other surf and rock versions by bands such as the Beach Boys, the Ventures, and the Trashmen, as well as international orchestral easy listening (exotica) versions by musicians such as Martin Denny and Arthur Lyman. Dale's surf rock version was heard in the 1994 film Pulp Fiction.

In the theatre of ancient Greece, the eirôn (Ancient Greek: εἴρων) was one of three stock characters in comedy. The eirôn usually succeeded in bringing down his braggart opponent (the alazôn) by understating his own abilities.

The term Norman–Arab–Byzantine culture, Norman–Sicilian culture or, less inclusively, Norman–Arab culture, (sometimes referred to as the "Arab-Norman civilization") refers to the interaction of the Norman, Byzantine Greek, Latin, and Arab cultures following the Norman conquest of the former Emirate of Sicily and North Africa from 1061 to around 1250. The civilization resulted from numerous exchanges in the cultural and scientific fields, based on the tolerance shown by the Normans towards the Latin- and Greek-speaking Christian populations and the former Arab Muslim settlers. As a result, Sicily under the Normans became a crossroad for the interaction between the Norman and Latin Catholic, Byzantine–Orthodox, and Arab–Islamic cultures.