Allegory

    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, in spite of the fact that 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. 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.

    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 – Fables
    Plato – The Republic (Plato's allegory of the cave)
    Plato – Phaedrus (Chariot Allegory)
    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
    Dante Alighieri – The Divine Comedy
    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
    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. Works of fiction with strong allegorical overtones include:

    William Golding – Lord of the Flies
    George Orwell – Animal Farm
    John Irving – A Prayer for Owen Meany
    Arthur Miller – The Crucible
    Philip Pullman – His Dark Materials
    Hualing Nieh – Mulberry and Peach
    David Lindsay – A Voyage to Arcturus
    Rex Warner – The Aerodrome  Jan Vermeer's work, 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, from Dune to The Chronicles of Narnia.
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