Allegory

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Pearl, miniature from Cotton Nero A.x. The Dreamer stands on the other side of the stream from the Pearl-maiden. Pearl is one of the greatest allegories from the High Middle Ages Pearl Poet.jpg
Pearl, miniature from Cotton Nero A.x. The Dreamer stands on the other side of the stream from the Pearl-maiden. Pearl is one of the greatest allegories from the High Middle Ages

As a literary device, an allegory is a narrative, whether in prose or verse, in which a character, place or event is used to deliver a broader message about real-world issues and occurrences. Allegory (in the sense of the practice and use of allegorical devices and works) has occurred widely throughout history in all forms of art, largely because it can readily illustrate or convey complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.

Contents

Writers or speakers typically use allegories as literary devices or as rhetorical devices that convey (semi-)hidden or complex meanings through symbolic figures, actions, imagery, or events, which together create the moral, spiritual, or political meaning the author wishes to convey. [2] Many allegories use personifications of abstract concepts.

Etymology

Salvator Rosa: Allegory of Fortune, representing Fortuna, the goddess of luck, with the horn of plenty Salvator Rosa (Italian) - Allegory of Fortune - Google Art Project.jpg
Salvator Rosa: Allegory of Fortune , representing Fortuna, the goddess of luck, with the horn of plenty
Marco Marcola: Mythological allegory Marco Marcola - Mitoloska alegorija.jpg
Marco Marcola: Mythological allegory

First attested in English in 1382, the word allegory comes from Latin allegoria, the latinisation of the Greek ἀλληγορία (allegoría), "veiled language, figurative" [3] , which in turn comes from both ἄλλος (allos), "another, different" [4] and ἀγορεύω (agoreuo), "to harangue, to speak in the assembly" [5] , which originates from ἀγορά (agora), "assembly". [6]

Types

Northrop Frye discussed what he termed a "continuum of allegory", a spectrum that ranges from what he termed the "naive allegory" of The Faerie Queene , to the more private allegories of modern paradox literature. [7] In this perspective, the characters in a "naive" allegory are not fully three-dimensional, for each aspect of their individual personalities and the events that befall them embodies some moral quality or other abstraction; the allegory has been selected first, and the details merely flesh it out.

Classical allegory

The origins of allegory can be traced at least back to Homer in his "quasi-allegorical" use of personifications of, e.g., Terror (Deimos) and Fear (Phobos) at Il. 115 f. [8] The title of "first allegorist," however, is usually awarded to whoever was the earliest to put forth allegorical interpretations of Homer. This approach leads to two possible answers: Theagenes of Rhegium (whom Porphyry calls the "first allegorist," Porph. Quaest. Hom. 1.240.14-241.12 Schrad.) or Pherecydes of Syros, both of whom are presumed to be active in the 6th century B.C.E., though Pherecydes is earlier and as he is often presumed to be the first writer of prose. The debate is complex, since it demands we observe the distinction between two often conflated uses of the Greek verb "allēgoreīn," which can mean both "to speak allegorically" and "to interpret allegorically." [9]

In the case of "interpreting allegorically," Theagenes appears to be our earliest example. Presumably in response to proto-philosophical moral critiques of Homer (e.g. Xenophanes fr. 11 Diels-Kranz [10] ), Theagenes proposed symbolic interpretations whereby the Gods of the Iliad actually stood for physical elements. So, Hephestus represents Fire, for instance (for which see fr. A2 in Diels-Kranz [11] ). Some scholars, however, argue that Pherecydes cosmogonic writings anticipated Theagenes allegorical work, illustrated especially by his early placement of Time (Chronos) in his genealogy of the gods, which is thought to be a reinterpretation of the titan Kronos, from more traditional genealogies.

In classical literature two of the best-known allegories are the Cave in Plato's Republic (Book VII) and the story of the stomach and its members in the speech of Menenius Agrippa (Livy ii. 32).

Among the best-known examples of allegory, Plato's Allegory of the Cave, forms a part of his larger work The Republic. In this allegory, Plato describes a group of people who have lived chained in a cave all of their lives, facing a blank wall (514a–b). The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world (514c–515a). According to the allegory, the shadows are as close as the prisoners get to viewing reality, until one of them finds his way into the outside world where he sees the actual objects that produced the shadows. He tries to tell the people in the cave of his discovery, but they do not believe him and vehemently resist his efforts to free them so they can see for themselves (516e–518a). This allegory is, on a basic level, about a philosopher who upon finding greater knowledge outside the cave of human understanding, seeks to share it as is his duty, and the foolishness of those who would ignore him because they think themselves educated enough. [12]

In Late Antiquity Martianus Capella organized all the information a fifth-century upper-class male needed to know into an allegory of the wedding of Mercury and Philologia, with the seven liberal arts the young man needed to know as guests. [13] Also the Neoplatonic philosophy developed a type of allegorical reading of Homer [14] and Plato [15] .

Biblical allegory

Other early allegories are found in the Hebrew Bible, such as the extended metaphor in Psalm 80 of the Vine and its impressive spread and growth, representing Israel's conquest and peopling of the Promised Land. [16] Also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israel's exile to Babylon. [17]

Allegorical interpretation of the Bible was a common early Christian practice and continues. For example, the recently re-discovered IVth Commentary on the Gospels by Fortunatianus of Aquileia has a comment by its English translator: "The principal characteristic of Fortunatianus’ exegesis is a figurative approach, relying on a set of concepts associated with key terms in order to create an allegorical decoding of the text." (pXIX)

Medieval allegory

British School 17th century - Portrait of a Lady, Called Elizabeth, Lady Tanfield. Sometimes the meaning of an allegory can be lost, even if art historians suspect that the artwork is an allegory of some kind. British School 17th century - Portrait of a Lady, Called Elizabeth, Lady Tanfield - Google Art Project.jpg
British School 17th century – Portrait of a Lady, Called Elizabeth, Lady Tanfield. Sometimes the meaning of an allegory can be lost, even if art historians suspect that the artwork is an allegory of some kind.

Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances. Thus, the Papal Bull Unam Sanctam (1302) presents themes of the unity of Christendom with the pope as its head in which the allegorical details of the metaphors are adduced as facts on which is based a demonstration with the vocabulary of logic: "Therefore of this one and only Church there is one body and one head—not two heads as if it were a monster... If, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ." This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition and example of the Bible.

In the late 15th century, the enigmatic Hypnerotomachia , with its elaborate woodcut illustrations, shows the influence of themed pageants and masques on contemporary allegorical representation, as humanist dialectic conveyed them.

The denial of medieval allegory as found in the 12th-century works of Hugh of St Victor and Edward Topsell's Historie of Foure-footed Beastes (London, 1607, 1653) and its replacement in the study of nature with methods of categorisation and mathematics by such figures as naturalist John Ray and the astronomer Galileo is thought to mark the beginnings of early modern science. [19]

Modern allegory

Since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which the author may not have recognised. This is allegoresis, or the act of reading a story as an allegory. Examples of allegory in popular culture that may or may not have been intended include the works of Bertolt Brecht, and even some works of science fiction and fantasy, such as The Chronicles of Narnia by C. S. Lewis.

The story of the apple falling onto Isaac Newton's head is another famous allegory. It simplified the idea of gravity by depicting a simple way it was supposedly discovered. It also made the scientific revelation well known by condensing the theory into a short tale. [20]

Poetry and fiction

Detail of Laurent de La Hyre's Allegory of Arithmetic, c. 1650 Allegory of Arithmetic - detail.JPG
Detail of Laurent de La Hyre's Allegory of Arithmetic, c. 1650

It is important to note that while allegoresis may make discovery of allegory in any work, not every resonant work of modern fiction is allegorical, and some are clearly not intended to be viewed this way. According to Henry Littlefield's 1964 article, L. Frank Baum's The Wonderful Wizard of Oz , may be readily understood as a plot-driven fantasy narrative in an extended fable with talking animals and broadly sketched characters, intended to discuss the politics of the time. [21] Yet, George MacDonald emphasised in 1893 that "A fairy tale is not an allegory." [22]

J. R. R. Tolkien's The Lord of the Rings is another example of a well-known work mistakenly perceived as allegorical, as the author himself once stated, "...I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and the other in the purposed domination of the author." [23]

Tolkien specifically resented the suggestion that the book's One Ring, which gives overwhelming power to those possessing it, was intended as an allegory of nuclear weapons. He noted that, had that been his intention, the book would not have ended with the Ring being destroyed but rather with an arms race in which various powers would try to obtain such a Ring for themselves. Then Tolkien went on to outline an alternative plot for "Lord of The Rings", as it would have been written had such an allegory been intended, and which would have made the book into a dystopia. While all this does not mean Tolkien's works may not be treated as having allegorical themes, especially when reinterpreted through postmodern sensibilities, it at least suggests that none were conscious in his writings. This further reinforces the idea of forced allegoresis, as allegory is often a matter of interpretation and only sometimes of original artistic intention.

Like allegorical stories, allegorical poetry has two meanings – a literal meaning and a symbolic meaning.

Some unique specimens of allegory can be found in the following works:

Art

Some elaborate and successful specimens of allegory are to be found in the following works, arranged in approximate chronological order:

See also

Related Research Articles

Leaf by Niggle short story

"Leaf by Niggle" is a short story written by J. R. R. Tolkien in 1938–39 and first published in the Dublin Review in January 1945. It can be found, most notably, in Tolkien's book titled Tree and Leaf, and in other places. This is notable because the book, consisting of a seminal essay called "On Fairy-Stories" and "Leaf by Niggle", offers the underlying philosophy of much of Tolkien's fantastical writings.

The concept of an archetype appears in areas relating to behavior, historical psychological theory, and literary analysis. An archetype can be:

  1. a statement, pattern of behavior, a prototype, a "first" form or a main model which other statements, patterns of behavior, and objects copy, emulate or "merge" into.
  2. a Platonic philosophical idea referring to pure forms which embody the fundamental characteristics of a thing in Platonism
  3. a collectively-inherited unconscious idea, pattern of thought, image, etc., that is universally present, in individual psyches, as in Jungian psychology
  4. a constantly recurring symbol or motif in literature, painting, or mythology. In various seemingly unrelated cases in classic storytelling, media, etc., characters or ideas sharing similar traits recur.
Chronos Ancient Greek mythological Titan and personification of time

Chronos is the personification of time in pre-Socratic philosophy and later literature.

In Greek mythology, Moros or Morus is the being of impending doom, who drives mortals to their deadly fate.

Allegory of the cave Allegory by Plato

The allegory of the cave, or Plato's Cave, was 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). All three are characterized in relation to dialectic at the end of Books VII and VIII (531d–534e).

Parable Short didactic story which illustrates one or more instructive lessons or principles

A parable is a succinct, didactic story, in prose or verse, that illustrates one or more instructive lessons or principles. It differs from a fable in that fables employ animals, plants, inanimate objects, or forces of nature as characters, whereas parables have human characters. A parable is a type of metaphorical analogy.

Plato, in his dialogue Phaedrus, uses the Chariot Allegory to explain his view of the human soul. He does this in the dialogue through the character of Socrates, who uses it in a discussion of the merit of Love as "divine madness".

Gymnasium (ancient Greece) ancient Greek training facility

The gymnasium in Ancient Greece functioned as a training facility for competitors in public game(s). It was also a place for socializing and engaging in intellectual pursuits. The name comes from the Ancient Greek term gymnós meaning "naked". Only adult males were allowed to use the gymnasia.

The Ring of Gyges (Ancient Greek: Γύγου Δακτύλιος, Gúgou Daktúlios, Attic Greek pronunciation: [ˈɡyːˌɡoː dakˈtylios] is a mythical magical artifact mentioned by the philosopher Plato in Book 2 of his Republic. It grants its owner the power to become invisible at will. Through the story of the ring, Republic considers whether an intelligent person would be just if one did not have to fear any bad reputation for committing injustices.

Ancient Greek philosophy differentiates main conceptual forms and distinct words for the Modern English word love: agápe, éros, philía, philautia, storgē, and xenia.

Pherecydes of Syros Greek philosopher

Pherecydes of Syros was a Greek thinker from the island of Syros. Pherecydes authored a cosmogony, derived from three divine principles, Zas (Zeus), Cthonie (Earth) and Chronos (Time), known as the "Pentemychos". It formed a bridge between the mythological thought of Hesiod and pre-Socratic philosophy. His work is lost, but it survived into the Hellenistic period and we are informed on part of its content indirectly. Pherecydes was said to have been the first writer to communicate philosophical musings in prose. Aristotle regarded him partly a mythological writer and Plutarch, as well as many other writers gave him the title of Theologus.

<i>A Greek–English Lexicon</i> standard lexicographical work of the Ancient Greek language

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Allegorical interpretation of the Bible interpretive method (exegesis) which assumes that the Bible has various levels of meaning and tends to focus on the spiritual sense

Allegorical interpretation of the Bible is an interpretive method (exegesis) that assumes that the Bible has various levels of meaning and tends to focus on the spiritual sense, which includes the allegorical sense, the moral sense, and the anagogical sense, as opposed to the literal sense. It is sometimes referred to as the quadriga, a reference to the Roman chariot that was drawn by four horses.

Allegory in the Middle Ages

Allegory in the Middle Ages was a vital element in the synthesis of biblical and classical traditions into what would become recognizable as medieval culture. People of the Middle Ages consciously drew from the cultural legacies of the ancient world in shaping their institutions and ideas, and so allegory in medieval literature and medieval art was a prime mover for the synthesis and transformational continuity between the ancient world and the "new" Christian world.

Anagoge (ἀναγωγή), sometimes spelled anagogy, is a Greek word suggesting a "climb" or "ascent" upwards. The anagogical is a method of mystical or spiritual interpretation of statements or events, especially scriptural exegesis, that detects allusions to the afterlife.

Hermann Alexander Diels German classical philologist, religion academic, historian of philosophy and technology

Hermann Alexander Diels was a German classical scholar.

Finger snapping the act of creating a snapping sound with ones fingers

Snapping one's fingers is the act of creating a snapping or clicking sound with one's fingers. Primarily this is done by building tension between the thumb and another finger and then moving the other finger forcefully downward so it hits the palm of the same hand at a high speed.

Cronus Ruler of the Titans in Ancient Greek mythology

In Greek mythology, Cronus, Cronos, or Kronos, was the leader and youngest of the first generation of Titans, the divine descendants of Uranus, the sky, and Gaia, the earth. He overthrew his father and ruled during the mythological Golden Age, until he was overthrown by his own son Zeus and imprisoned in Tartarus. According to Plato, however, the deities Phorcys, Cronus, and Rhea were the eldest children of Oceanus and Tethys.

Diels–Kranz numbering

Diels–Kranz (DK) numbering is the standard system for referencing the works of the ancient Greek pre-Socratic philosophers, based on the collection of quotations from and reports of their work, Die Fragmente der Vorsokratiker, by Hermann Alexander Diels. The Fragmente was first published in 1903, was later revised and expanded three times by Diels, and was finally revised in a fifth edition (1934–7) by Walther Kranz and again in a sixth edition (1952). In Diels-Kranz, each passage, or item, is assigned a number which is used to uniquely identify the ancient personality with which it is concerned, and the type of item given. Diels-Kranz is used in academia to cite pre-Socratic philosophers, and the system also encompasses Sophists and pre-Homeric poets such as Orpheus.

Allegorical interpretations of Plato

Many Plato interpreters held that his writings contain passages with double meanings, called 'allegories' or 'symbols', that give the dialogues layers of figurative meaning in addition to their usual literal meaning. These allegorical interpretations of Plato were dominant for more than fifteen hundred years, from about the first century CE through the Renaissance and into the Eighteenth Century, and were advocated by major figures such as Plotinus, Proclus, and Ficino. Beginning with Philo of Alexandria, these views influenced Jewish, Christian and Islamic interpretation of their holy scriptures. They spread widely in the Renaissance and contributed to the fashion for allegory among poets such as Dante, Spenser, and Shakespeare.

References

  1. Stephen A. Barney (1989). "Allegory". Dictionary of the Middle Ages . vol. 1. ISBN   0-684-16760-3
  2. Wheeler, L. Kip (11 January 2018). "A". Literary Terms and Definitions. Carson-Newman University.
  3. ἀλληγορία, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
  4. ἄλλος, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
  5. ἀγορεύω, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library
  6. ἀγορά, Henry George Liddell, Robert Scott, A Greek-English Lexicon, in the Perseus Digital Library.
  7. [Frye, Northrop. Anatomy of Criticism. Princeton, NJ: Princeton UP, 1957. Print.]
  8. [Small, S. G. P. (1949). "On Allegory in Homer". The Classical Journal 44 (7): 423.]
  9. [Domaradzki, M. (2017). "The Beginnings of Greek Allegoresis". Classical World 110 (3):301]
  10. [H. Diels and W. Kranz. (1951). Die Fragmente der Vorsokratiker, vol. 1. 6th edn. Berlin: Weidmann, 126-138.]
  11. [H. Diels and W. Kranz. (1951). Die Fragmente der Vorsokratiker, vol. 1. 6th edn. Berlin: Weidmann, 51-52.]
  12. Elliott, R. K. (1967). "Socrates and Plato's Cave". Kant-Studien. 58 (2): 138. doi:10.1515/kant.1967.58.1-4.137.
  13. [Capella, Martianus, William Harris. Stahl, Richard Johnson, and E. L. Burge. The Marriage of Philology and Mercury. New York: Columbia UP, 1977. Print.]
  14. LAMBERTON, ROBERT (1986). Homer the Theologian: Neoplatonist Allegorical Reading and the Growth of the Epic Tradition. University of California Press. ISBN   9780520066076. JSTOR   10.1525/j.ctt1ppp1k.
  15. Calian, Florin George (2013), Dolealová, Lucie; Rider, Jeff; Zironi, Alessandro (eds.), "'Clarifications' of Obscurity: Proclus' Allegorical Reading of Plato's Parmenides", Medium Aevum Quotidianum, Krems: Institut für Realienkunde des Mittelalters und der frühen Neuzeit, pp. 15–31, retrieved 2019-11-06
  16. Kennedy, George A. (1999). Classical Rhetoric and Its Christian and Secular Tradition from Ancient to Modern Times (2nd ed.). UNC Press. p. 142. ISBN   0-8078-4769-0 . Retrieved 7 August 2009.
  17. Jones, Alexander, ed. (1968). The Jerusalem Bible (Reader's ed.). Doubleday & Company. pp.  1186, 1189. ISBN   0-385-01156-3.
  18. "Portrait of a Lady, Called Elizabeth, Lady Tanfield by Unknown Artist". ArtFund.org. Art Fund.
  19. Harrison, Peter (2001). "Introduction". The Bible, Protestantism, and the Rise of Natural Science. Cambridge University Press. p. 1–10. ISBN   0-521-59196-1.
  20. "Revised Memoir of Newton (Normalized Version)". The Newton Project. Retrieved 13 March 2017.
  21. [Littlefield, Henry (1964). "The Wizard of Oz: Parable on Populism". American Quarterly, 16 (1): 47–58. doi : 10.2307/2710826.]
  22. Baum, L. Frank (2000). The Annotated Wizard of Oz: The Wonderful Wizard of Oz. Norton. p. 101. ISBN   978-0-393-04992-3.
  23. Bogstad, Janice M.; Kaveny, Philip E. (9 August 2011). Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy. McFarland. p. 189. ISBN   978-0-7864-8473-7.
  24. [Roppolo, Joseph Patrick. "Meaning and 'The Masque of the Red Death'", collected in Poe: A Collection of Critical Essays, edited by Robert Regan. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1967. p. 137]
  25. Cäcilia Rentmeister: The Muses, Banned From Their Occupations: Why Are There So Many Allegories Female? English summary from Kvinnovetenskaplig Tidskrift, Nr.4. 1981, Lund, Sweden as PDF. Retrieved 10.July 2011 Original Version in German: Berufsverbot für die Musen. Warum sind so viele Allegorien weiblich? In: Ästhetik und Kommunikation, Nr. 25/1976, S. 92–112. Langfassung in: Frauen und Wissenschaft. Beiträge zur Berliner Sommeruniversität für Frauen, Juli 1976, Berlin 1977, S.258–297. With illustrations. Full Texts Online: Cäcilia (Cillie) Rentmeister: publications

Further reading