Allegory  

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 +An '''allegory''' (from [[Greek language|Greek]] αλλος, , "other", and αγορευειν, ''agoreuein,'' "to speak in public") is a figurative mode of [[representation (arts)|representation]] conveying a [[Meaning (linguistic)|meaning]] other than the [[literal]].
 +
 +Allegory is generally treated as a figure of [[rhetoric]], but an allegory does not have to be expressed in [[language]]: it may be addressed to the eye, and is often found in realistic [[painting]], [[sculpture]] or some other form of [[Mimesis|mimetic]], or representative art.
 +
 +The [[etymology|etymological]] meaning of the word is broader than the common use of the word. Though it is similar to other rhetorical comparisons, an allegory is sustained longer and more fully in its details than a [[metaphor]], and appeals to [[imagination]], while an [[analogy]] appeals to [[reason]] or [[logic]]. The [[fable]] or [[parable]] is a short allegory with one definite moral.
 +
 +Since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories, sometimes distorting their author's overt meaning. For instance, many people have suggested that ''[[The Lord of the Rings]]'' was an allegory for the [[world war|World Wars]], while in fact it was well under way before the outbreak of World War II and J.R.R. Tolkien's emphatic statement in the introduction to the American edition "It is neither allegorical nor topical....I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence."
 +
 +[[Northrop Frye]] discussed what he termed a "continuum of allegory", ranging from what he termed the "naive allegory" of ''[[The Faerie Queen]]'', to the more private allegories of modern [[paradox literature]]. 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.
 +
 +==Examples==
 +Allegory has been a favourite form in the [[literature]] of nearly every nation. It represents many tales.
 +In classical literature two of the best-known allegories are [[Allegory of the cave|the cave of shadowy representations]] in [[Plato]]'s ''[[Republic]]'' (Book VII) and the story of the stomach and its members in the speech of Menenius Agrippa ([[Livy]] ii. 32); and several occur in [[Ovid]]'s ''[[Metamorphoses (poem)|Metamorphoses]].'' 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]] as guests; Matianmus Capella's allegory was widely read through the Middle Ages.
 +
 +Medieval thinking accepted allegory as having a ''reality'' underlying any rhetorical or fictional uses. The allegory was as true as superficial facts of surface appearances. Thus, the 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 ''actual facts'' which take the place of a logical demonstration, yet employing 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" [http://en.wikisource.org/wiki/Unam_sanctam (complete text)].
 +
 +In the late fifteenth century, the enigmatic ''[[Hypnerotomachia]]'', with its elaborate woodcut illustrations, shows the influence of themed pageants and [[masque]]s on contemporary allegorical representation, as [[Renaissance humanism|humanist dialectic]] conveyed them. [[Image:Titian - Allegorie der Zeit.jpg|thumb|200px|[[Titian]]'s ''Allegory of Age Governed by Prudence'', with three human heads symbolising age and the triple-headed beast (dog, lion, wolf) standing for prudence.]]
 +
 +Some elaborate and successful specimens of allegory are to be found in the following works, arranged in approximately chronological order:
 +* [[Aesop]] – ''[[Aesop's Fables|Fables]]''
 +* [[Plato]] – ''[[Plato's Republic|The Republic]]'' (''[[Plato's allegory of the cave]]'')
 +* [[Plato]] – ''[[Phaedrus (dialogue)|Phaedrus]]'' (''[[Chariot Allegory]]'')
 +*[[Euripides]] – ''[[The Trojan Women]]''
 +* ''[[Book of Revelation]]'' (for allegory in Christian theology, see [[typology (theology)]])
 +* [[Martianus Capella]] – ''De nuptiis philologiæ et Mercurii''
 +* ''[[The Romance of the Rose]]''
 +* [[William Langland]] – ''[[Piers Plowman]]''
 +* ''[[Pearl (poem)|Pearl]]''
 +* [[Dante Alighieri]] – ''[[The Divine Comedy]]''
 +* ''[[Everyman (play)|Everyman]]''
 +* [[Edmund Spenser]] – ''[[The Faerie Queene]]''
 +* [[John Bunyan]] – ''[[Pilgrim's Progress]]''
 +* [[Jonathan Swift]] – ''[[A Tale of a Tub]]''
 +* [[Joseph Addison]] – ''Vision of Mirza''
 +* [[E. T. A. Hoffmann]] – ''Princess Brambilla''
 +* [[Nathaniel Hawthorne]] – "[[The Great Carbuncle]]"
 +* [[Herman Melville]] – ''[[The Confidence-Man]]''
 +* [[Edgar Allan Poe]] – "[[The Masque of the Red Death]]"
 +Modern allegories in fiction tend to operate under constraints of modern requirements for [[verisimilitude]] within conventional expectations of [[realism (arts)|realism]]. Works of fiction with strong allegorical overtones include:
 +* [[Jorge Luis Borges]] – ''[[The Library of Babel]]''
 +* [[Peter S. Beagle]] – ''[[The Last Unicorn]]''
 +* [[William Golding]] – ''[[Lord of the Flies (novel)|Lord of the Flies]]''
 +* [[John Irving]] – ''[[A Prayer for Owen Meany]]''
 +* [[David Lindsay (novelist)|David Lindsay]] – ''A Voyage to Arcturus''
 +* [[Arthur Miller]] – ''[[The Crucible]]''
 +* [[Hualing Nieh]] – ''[[Mulberry and Peach]]''
 +* [[George Orwell]] – ''[[Animal Farm]]''
 +* [[Philip Pullman]] – ''[[His Dark Materials]]''
 +* [[Rex Warner]] – ''The Aerodrome'' [[Image:Jan Vermeer van Delft 011.jpg|thumb|275px|Jan Vermeer's work, ''[[The Art of Painting|The Allegory of Painting]]''.]]
 +
 +Where some requirements of "realism", in its flexible meanings, are set aside, allegory can come more strongly to the surface, as in the work of [[Bertold Brecht]] or [[Franz Kafka]] on one hand, or on the other in science fiction and fantasy, where an element of universal application and allegorical overtones are common, as with ''[[Dune (novel)|Dune]]''.
 +
 +Allegorical films include:
 +* [[Fritz Lang]]'s ''[[Metropolis (movie)|Metropolis]]''
 +* [[Ingmar Bergman]]'s ''[[The Seventh Seal]]''
 +* [[Stanley Kubrick]]'s ''[[2001: A Space Odyssey (film)]]''
 +* ''[[El Topo]]''
 +* ''[[Star Trek: The Undiscovered Country]]''
 +* ''[[Star Wars]]''
 +* ''[[The Matrix]]''
 +* ''[[The Virgin Suicides]]''
 +* ''[[The Wizard of Oz (1939 film)|''The Wizard of Oz'']]''
 +
 +Allegorical artworks include:
 +* [[Sandro Botticelli]] – ''La Primavera (Allegory of Spring)''
 +* [[Albrecht Dürer]] – ''[[Melencolia I]]''
 +* [[Artemisia Gentileschi]] – ''Self-Portrait as the Allegory of Painting''; ''Allegory of Inclination''
 +* [[Jan Vermeer]] – ''The Allegory of Painting''
 +* [[Ambrogio Lorenzetti]]; "Good Government in the City" and "Bad Government in the City"
 +
 +==See also==
 +{{commonscat|Allegory}}
 +*[[Allegory in the Middle Ages]]
 +*[[Allegory in Renaissance literature]]
 +*[[Allegorical sculpture]]
 +*[[Roman à clef]]
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An allegory (from Greek αλλος, , "other", and αγορευειν, agoreuein, "to speak in public") is a figurative mode of representation conveying a meaning other than the literal.

Allegory is generally treated as a figure of rhetoric, but an allegory does not have to be expressed in language: it may be addressed to the eye, and is often found in realistic painting, sculpture or some other form of mimetic, or representative art.

The etymological meaning of the word is broader than the common use of the word. Though it is similar to other rhetorical comparisons, an allegory is sustained longer and more fully in its details than a metaphor, and appeals to imagination, while an analogy appeals to reason or logic. The fable or parable is a short allegory with one definite moral.

Since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories, sometimes distorting their author's overt meaning. For instance, many people have suggested that The Lord of the Rings was an allegory for the World Wars, while in fact it was well under way before the outbreak of World War II and J.R.R. Tolkien's emphatic statement in the introduction to the American edition "It is neither allegorical nor topical....I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence."

Northrop Frye discussed what he termed a "continuum of allegory", ranging from what he termed the "naive allegory" of The Faerie Queen, to the more private allegories of modern paradox literature. 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.

Examples

Allegory has been a favourite form in the literature of nearly every nation. It represents many tales. In classical literature two of the best-known allegories are the cave of shadowy representations in Plato's Republic (Book VII) and the story of the stomach and its members in the speech of Menenius Agrippa (Livy ii. 32); and several occur in Ovid's Metamorphoses. 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 as guests; Matianmus Capella's allegory was widely read through the Middle Ages.

Medieval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as superficial facts of surface appearances. Thus, the 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 actual facts which take the place of a logical demonstration, yet employing 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" (complete text).

In the late fifteenth 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.
Image:Titian - Allegorie der Zeit.jpg
Titian's Allegory of Age Governed by Prudence, with three human heads symbolising age and the triple-headed beast (dog, lion, wolf) standing for prudence.

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

Modern allegories in fiction tend to operate under constraints of modern requirements for verisimilitude within conventional expectations of realism. Works of fiction with strong allegorical overtones include:

Where some requirements of "realism", in its flexible meanings, are set aside, allegory can come more strongly to the surface, as in the work of Bertold Brecht or Franz Kafka on one hand, or on the other in science fiction and fantasy, where an element of universal application and allegorical overtones are common, as with Dune.

Allegorical films include:

Allegorical artworks include:

See also

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