Professional Documents
Culture Documents
On Allegory:
Some Medieval Aspects and Approaches
(with an Introduction by Eric Stanley
and an Afterword by Vincent Gillespie)
Edited by
Copyright © 2008 by Mary Carr, K.P. Clarke and Marco Nievergelt and contributors
All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or
otherwise, without the prior permission of the copyright owner.
Preface ........................................................................................................ ix
Introduction
Allegories of Faith
Writing Allegory
Re-reading Allegory
Contributors............................................................................................. 257
Index........................................................................................................ 260
PREFACE
Mary Carr
K. P. Clarke
Marco Nievergelt
ALLEGORY THROUGH THE AGES,
AS READ MAINLY IN ENGLAND
AND AS SEEN ANYWHERE
E.G. STANLEY
1
“Mit keiner meiner Schriften bin ich furchtsamer gewesen, als mit dieser,
hervorzutreten, weil ich meine Absicht nicht erreichen können, und befürchte die
Erwartung derselben erfüllet zu haben.” Unless otherwise stated, all translations
are mine in this paper.
2 Allegory Through the Ages
get married soon—but Chaucer uses it to refer to Time, not he in tune with
Time personified (Ruggiers 1979, fol. 175ro; Furnivall 1873, 406–7 lines
116–19):
That is not sufficient for medieval allegory, and MED has for the same
phrase, bi allegorie, two interpretations, “allegorically” and
“symbolically”, and the phrase in maner of allegorie is interpreted as a
questioning “? figuratively”. Is allegory the same as symbol, the same
perhaps as figure? For the exegetical sense, MED quotes Galatians 4:24 in
the earlier Wycliffite Version of the Bible, which reads (with the
intercalated words in italics (Forshall and Madden 1850, IV, 404):2 “The
2
Variants given in the apparatus include ‘by another vndirstondinge’ and
‘gospelles vndirstondinge’. The later Wycliffite version does not use the phrase
said by allegorie, but has instead seid bi an othir vndirstonding, and a side-note
explicates an othir vnderstonding: bi gostli vndirstonding, thouȝ it is fer fro
Jerusalem bi space of londis.
On Allegory 3
22 For it is written that Abraham had two sonnes: one of the bond-woman,
and one of the free-woman. 23 But he that of the bond-woman, was borne
according to the flesh: and he that of the free-woman, by the promisse.24
which things are said by an allegorie. For these are the two testaments. The
one from mount Sina, gendring vnto bondage: which is Agar, (25 for Sina
is a mountaine in Arabia, which hath affinitie to that which now is
Hierusalem) and serueth with her children. 26 But that Hierusalem which
is aboue, is free: which is our mother.
24. By an allegorie.] Here we learne that the holy Scriptures haue beside
the litteral sense, a deeper spiritual and more principal meaning: which is
not only to be taken of the holy wordes, but of the very factes and persons
reported: both the speaches and the actions being significatiue ouer and
aboue the letter. Which pregnancie of manifold senses if S. Paul had not
signified him self in certaine places, the Heretikes had bene lesse wicked
and presumptuous in condemning the holy fathers allegorical expositions
almost wholy: who now shew them selues to be mere brutish and carnal
men, hauing no sense nor feeling of the profunditie of the Scriptures,
which our holy fathers the Doctors of Gods Church saw.
3
Cf. the Vulgate (Wordsworth, et al., 1889–1941), II, 390–2, Galatians 4:22-6:
scriptum est enim | quoniam Abraham duos filios habuit | unum de ancilla et unum
de libera | 23 sed qui de ancilla secundum carnem natus est | qui autem de libera
per repromissionem | 24 quae sunt per allegoriam dicta. | Haec enim sunt duo
testamenta | unum quidem a monte Sina in seruitutem generans | quae est Agar | 25
Sina enim mons est in Arabia | qui coniunctus est ei quae nunc est Hierusalem et
seruit cum filiis eius | 26 illa autem quae sursum est Hierusalem libera est | quae
est mater nostra.
4 Allegory Through the Ages
We learne that Abrahams house being the Church, was a figure or paterne
of the Church to come, and that all notable mutations therein doe prefigure
or set forth, the like in the whole Church that followed... But that the
Apostle in this place vsing the terme of allegory, meaneth no such
descanting vpon the Scripture, as you [the Papists at Rhemes] call a deeper
and spirituall, and more principall meaning, diuers of the ancient fathers
also doe beare witnesse. First Chrysostome vpon this place saieth: A figure
he calleth vnproperly an allegory. But this is the meaning of what he
saieth. This history declareth not onely that which appeareth, but also
setteth foorth higher matters. Theodoret vpon this place sayth: The diuine
Apostle hath sayd these things are sayd by allegory, meaning that they are
otherwise vnderstood, for he hath not taken away the story, but teacheth
what things are prefigured in the story.
S. Ambrose saith: Isaack was borne to be a figure of Christ. Therefore
he saith these thinges are said by allegorie, because the persons of Ismael
and Isaack by one thing signifie another. Photius saith: They are spoken
allegorically, that is, the natiuities of these two sonnes were figures of two
testaments. These prefigurations differ much from allegoricall
interpretation... [I]t is not lawfull to conclude euery truth out of any text of
scripture, where the Holy ghost meaneth not to teach any such matter. How
vaine a thing therfore those allegories are, the varietie of them gathered by
diuers men out of the same text, doth declare, seeing they haue no
foundation in the word, but only in the braine of the inuenter. And it is as
easie a matter to interpret Virgils Aeneades, or Ouids Metamorphosis
allegoricallie as the scriptures, and to applie all things in them to truth and
spirituall vnderstanding.
4
Galatians 4:22–31 is the Epistle read at Mass on the Fourth Sunday in Lent;
according to a side-note in the Rhemes New Testament, and cf. the Sarum Missal
(Legg 1916, 79); so also in the Uses of York and Hereford (Blunt 1907, 272–3);
the Book of Common Prayer begins the reading at verse 21.
On Allegory 5
beauty in that view made lively in medieval statuary, for example, in the
statues outside a door of Strasbourg cathedral (and now sheltering in the
museum there). Synagoga is blindfolded with her staff broken, and
Ecclesia is triumphant, and often with a flag aflutter. Art is, however,
unlikely to reconcile us to how, in the unallegorical reality of the world,
Abraham shamefully cast forth Hagar and her son into the desert.
5
New Testament (1582, 75–6); Wordsworth et al. (1889–1941, I, 154), Mattheus
26:27–8: bibite ex hoc omnes | 28 hic est enim sanguis meus noui testamenti | qui
pro multis effunditur in remissionem peccatorum. Cf. the Canon of the Mass (Legg
1916, 222): Accipite et bibite ex eo omnes... Hic est enim calix sanguinis mei noui
et eterni testamenti. misterium fidei. qui pro uobis et pro multis effundetur in
remissionem peccatorum. All the Uses current in Britain and the Roman Liturgy
have this wording (Maskell 1882, 142–3).
6 Allegory Through the Ages
6
See Greene (1977, 195–6, notes 423–7), no. 322 (Balliol College MS 354, 16th
century).
On Allegory 7
Of course, like many things about a hundred and fifty years old, this
account is dated in its deferential style, and in the now politically incorrect
thought that Clemency, rather than Wisdom, should stand by a female
sovereign. Gibson’s description of the allegory he has created is,
nevertheless, of interest: the dimensions, the geometrical forms, the
8 Allegory Through the Ages
Definitions of allegory
The general meaning of allegory is well understood, but the word is
difficult to define. Isidore of Seville (Lindsay 1911, I, 37, 22) defines the
word etymologically: Allegoria est alieniloquium, which, even with his
not very helpful examples, get us nowhere except to remind us that the
Greek etymon ἀλληγορία means “other-speaking”.7 That is not enough
for allegoria in the Renaissance and later; for allegory—as understood in
Classical Antiquity, less often perhaps in the Middle Ages, and then
strongly again in the Renaissance and later—combines “other-speaking”
with higher-seeing. Sir James Murray (1884, s.v.) is particularly good in
the last four words of his definition: his sense 1 is, “Description of a
subject under the guise of some other subject of aptly suggestive
resemblance.” Johnson (1755, s.v.), always brilliant on abstracts, adds a
contrastive example:8 “A figurative discourse, in which something other is
intended, than is contained in the words literally taken; as, wealth is the
daughter of diligence, and the parent of authority.”
Johnson in his quotations likes, whenever possible, to present evidence
from both the Humanities and the Sciences. He has two quotations for the
word allegory. The first is from Ben Jonson’s Discoveries (Herford and
Simpson 1925–1952, VIII. 625 lines 2019–21, XI, 268–9), good advice to
authors that allegories should not be drawn out inordinately, if obscurity
and affectation are to be avoided. The second quotation, by “Peacham”—
no details (Peacham 1634, II, 114) in Johnson—sounds scientific,
explaining that “by this word Nymphe is meant nothing else but by
7
Isidore’s examples are: Virgil, Aeneid, I. 184–5, the three stags straying by the
shore killed by Aeneas are interpreted as symbolizing the warlike enemy; and
Eclogue III, 71, the ten golden apples interpreted as the ten books of Virgil’s
Eclogues.
8
Samuel Johnson (ed.), A Dictionary of the English Language, 2 vols (London: by
W. Strahan, for J. and P. Knapton; T. and T. Longman; C. Hitch and L. Hawes; A.
Millar; and R. and J. Dodsley, 1755), s.v.
On Allegory 9
allegory the vegetative humour or moisture that quickeneth and giveth life
to trees, plants, herbs and flowers, whereby they grow.”9 Peacham is
writing not a biological treatise, but “an exquisite practise” in the visual
arts, and he goes on: “. . . whereby they grow and increase, wherefore
[nymphs] are fained to be the daughters of the Ocean, the mothers of
flouds, the nurses of Bacchus, goddesses of fields, who have the protection
and charge of Mountaines, feeding of hearbs, woods, medowes, trees, and
in generall the whole life of man.”
He goes on: “our maker or Poet is appointed not for a iudge, but rather for
a pleader, and that of pleasant & louely causes”, so that “all his abuses
tende but to dispose the hearers to mirth and sollace by pleasant
conueyance and efficacy of speach, they are not in truth to be accompted
vices but for vertues in the poeticall science very commendable”.
Puttenham first emphasizes truth, but then relents, because such poetic
departure from literal truth delights, and delight is traditionally considered
an aim of poetry.
At the end of the seventeenth century Richard Blackmore has a
pompous preface to an “heroick poem” of his (1695, beginning of the
preface, and sig. [bii]ro) in which he sets forth at the outset the desirable
morality of poetry: “To what ill purposes soever Poetry has been abus’d,
9
I quote the spellings, etc., as in Peacham, not as in Johnson.
10
The attribution of the work, published anonymously in 1589, to Puttenham has
been questioned.
10 Allegory Through the Ages
its true and genuine End is by universal Confession, the Instruction of our
Minds, and Regulation of our Manners.” Later in the preface, he states at
some length the rules required for a heroic poem. He explains how
allegory must not be overdone, and how, a century after Ariosto and
Spenser wrote, though he recognizes their art, he finds their fanciful use of
allegory altogether too much [sig. b2ro]:
The Action must be related in an Allegorical manner; and this Rule is best
observ’d, when as Divines speak; there is both a Literal Sense obvious to
every Reader, and that gives him satisfaction enough if he sees no farther;
and besides another Mystical or Typical Sense, not hard to be discover’d
by those Readers that penetrate the matter deeper. . . . Ariosto and Spencer,
however great Wits, not ... attending to any sober Rules, are hurried on
with a boundless, impetuous Fancy over Hill and Dale, till they are both
lost in a Wood of Allegories. Allegories so wild, unnatural, and
extravagant, as greatly displease the Reader. This way of writing mightily
offends in this Age; and ’tis a wonder how it came to please in any. There
is indeed a way of writing purely Allegorical, as when Vices and Virtues
are introduc’d as Persons; the first as Furies, the other as Divine Persons
or Goddesses, which still obtains, and is well enough accommodated to the
present Age. For the Allegory is presently discern’d, and the Reader is by
no means impos’d on, but sees it immediately to be an Allegory, and is
both delighted and instructed with it.
Allegory has been derived from the religious dramas into our civil
spectacles. The masques and pageantries of the age of Elizabeth were not
only furnished by the heathen divinities, but often by the virtues and vices
impersonated, significantly decorated, accurately distinguished by their
proper types, and represented by living actors. The antient symbolical
shews of this sort began now to lose their old barbarism and a mixture of
religion, and to assume a degree of poetical elegance and precision. Nor
was it only in the conformation of particular figures that much fancy was
shewn, but in the contexture of some of the fables or devices presented by
groupes of ideal personages. These exhibitions quickened creative
invention, and reflected back on poetry what poetry had given. From their
familiarity and public nature, they formed a national taste for allegory; and
the allegorical poets were now writing to the people. Even romance was
turned into this channel. In the Fairy Queen, allegory is wrought upon
chivalry, and the feats and figments of Arthur’s round table are moralised.
The virtues of magnificence and chastity are here personified: but they are
imaged with the forms, and under the agency, of romantic knights and
On Allegory 11
What lively descriptions are there [in the Psalter] of the Majesty of God,
the estate and security of Gods children, the miserable condition of the
wicked? What lively similitudes and comparisons, as the righteous man to
a bay tree, the Soule to a thirsty Hart, vnity to oyntment and the dew of
Hermon? What excellent Allegories, as the vine planted in Ægypt; what
Epiphonema’s, prosopopoea’s and whatsoever else may be required to the
texture of so rich and glorious a peece?
And the song of Solomon (which is onely left us of a thousand) is it not a
continued Allegory of the Mysticall love betwixt Christ and his Church?
Peacham directs the reader to see in the Psalter and the Song of Songs
such figures as simile, allegory, epiphonema, and prosopopoeia, terms that
reach back further than the Middle Ages. The allegory of the Song of
Songs, as that book of the Bible was understood for 1500 years or more, is
significant. The opening words of the Song of Songs are, in the Doway
translation (Holie Bible 1609, 1610, I, 135), “Let him kisse me with the
kisse of his mouth: because thy brestes are better then wine”, rendering the
Vulgate (Biblia Sacra 1926–1995, XI, 179), Osculetur me oscula oris sui |
quia meliora sunt ubera tua vino. The book therefore opens with initial O,
and King’s College Cambridge MS 19 fol. 21vo of the twelfth century,
Bede’s commentary on the Song of Songs, shows a nimbed bearded
figure, Christ, very close to a nimbed female figure, Ecclesia, both sitting
on a throne; his left hand and her right hand are touching each other, and
11
In Psalm 37:35 (Authorized Version) the wicked, as if righteous, is seen
“spreading himselfe like a greene bay tree”. I quote A.V. throughout this paper
from Pollard (1911). For the soul compared with a thirsty hart, see Psalm 42:1;
unity with ointment and the dew of Hermon, Psalm 133; “a vine out of Egypt”,
Psalm 80:8.
12 Allegory Through the Ages
Donne uses the Song of Songs in his sermons, for more general
explication, unrelated to his own position; thus in his (second) “Serm. LI.
Preached upon the Penitentiall Psalmes”, with a marginal reference to
Canticles 4:12, the Song of Solomon in the Authorized Version 4:10–12
(Pollard 1911, unpaginated): “10 How faire is thy loue, my sister, my
spouse! how much better is thy loue then wine! and the smell of thine
oyntments then all spices!. . . 12 A garden inclosed is my sister, my
spouse: a spring shut vp, a fountaine sealed.”
12
The initial is illustrated in Kirschbaum (1968–1972, I, 319), s.v. “Bräutigam u.
Braut”, i.e. Christ and Ecclesia as bridegroom and bride.
13
Here to make love means “to pay court (to), pay amorous attention (to)”; not “to
copulate (with)”, a sense not recorded before 1950 in Burchfield (1972–1986, II,
744), s.v. love, sb., 7.g.
On Allegory 13
Grammatical gender
The place in allegory of gender follows on easily from consideration of the
beloved understood as Ecclesia in the Song of Songs. In Winckelmann’s
general theory of allegory grammatical gender matters; it is central in our
grasp of personification, an aspect of allegory, which when female, that is
feminine, allows one to see some abstraction as a daughter or mother of
some abstraction, or a nurse (of Bacchus, for example), or some goddess.
In the twenty-first century (accustomed to other historical speculations
about the origins of gender in Indo-European languages or further afield),
we are unlikely to accept Winckelmann’s patriarchal view of the matter:14
Nature itself has been the teacher of allegory, and allegorical language
seems to belong more properly to nature than the signifiers15 of our
thoughts devised at a later stage: for the language of allegory is essential,
giving a true picture of the things such as is to be found in only a small
number of words of the earliest languages, and which depict thoughts ...
Nature, speaking in figures, is to be recognized in traces of figurative
concepts, even in the gender of the words which the first who called them
so combined with the words. Gender testifies to a contemplation of active
14
Winckelmann (1766, 3):
Die Natur selbst ist der Lehrer der Allegorie gewesen, und diese Sprache scheinet
ihr eigener als die nachher erfundene [sic] Zeichen unserer Gedanken: denn sie ist
wesentlich, und giebt ein wahres Bild der Sachen, welches in wenig Worten der
ältesten Sprachen gefunden wird, und die Gedanken mahlen... Die in Bildern
redende Natur und die Spuren von bildlichen Begriffen erkennet man so gar in
dem Geschlechte der Worte, welches die ersten Benenner derselben mit den
Worten verbunden haben. Das Geschlecht zeuget von einer Betrachtung der
wirkenden und leidenden Beschaffenheit, und zugleich des Mittheilens und des
Empfangens, welches man sich Verhältnißweise in den Dingen vorgestellet, so daß
das Wirkende in männlicher Gestalt und das Leidende weiblich eingekleidet
worden.
15
My use of signifier (the English rendering of Saussure’s signifiant) is an attempt
to render Winckelmann’s Zeichen “sign”.
14 Allegory Through the Ages
16
See Perry (1952, 387), no. 170 Νοσῶν καὶ ἰατρός.
17
“Grandville” is Jean Ignace Isidore Gérard (1803–1847).
18
Was in sprache und sage tief verwachsen ist kann der mythologie niemals fremd
geblieben sein, es muß auf ihrem grund und boden eigenthümliche nahrung
gesogen haben, und jene grammatische, dichterische allbelebung darf sogar in
einer mythischen prosopopöie ihren ursprung suchen. Da alle einzelnen götter und
göttlichen eigenschaften auf der idee eines elements, eines gestirns, einer
naturerscheinung, einer kraft und tugend, einer kunst und fertigkeit, eines heils
oder unheils beruhen, die sich als gegenstände heiliger anbetung geltend gemacht
On Allegory 15
Whatever grows deep into language and spoken tradition cannot remain
outside mythology; it must have imbibed fitting nourishment on its soil;
and the aforenamed universalizing animation, at once grammatical and
poetic, may truly trace its origin to a mythical prosopopoeia. Since all
individual gods and divine attributes consist in the idea of one element, one
constellation, one natural phenomenon, one strength and virtue, one art and
skill, one good or evil fortune, which have achieved prevalence as objects
of sacred veneration; in that way concepts related to such ideas attain
deification, even if in themselves impersonal and abstract. A definite
personality is proper to such animals, plants, or stars as have reference to
individual gods or have their origin in metamorphosis. We may go so far as
to say that in general the gods of paganism have altogether proceeded from
those various personifications which were closest to the genius and
tradition of each nation, except that, by uniting several attributes and as a
result of a long-continued tradition, a more exalted standing was certain to
be conferred upon individual figures.
For all the grandeur of Grimm’s concepts, and his language is often
difficult, there are not infrequently aspects and ingredients in his
statements that may not be to the taste of readers in the twenty-first
century. As a comparativist he generalizes, undeterred by distances in time
and space, about linguistic, literary, and cultural phenomena. He tries to fit
what he says into a strongly held belief in national character, each people
different in sinnesart und entwicklung, “national genius and tradition”, for
that explains differences in personification resulting in the deities and in
the mythology peculiar to each nation. In his writings, the grammar of
personification is not a mere aspect of allegorical personification
expressed in poetry, but, uniquely—and essentially, as Grimm sees it—
grammar brings forth poetry. Heathendom elevated nature by making
natural phenomena worthy of veneration: it is a lost world. I do not know
whether Grimm had in mind Schiller’s poem “Die Götter Griechenlands”,
a lament for the gods and lower divinities of the Greeks. A world that does
not endow abstractions and natural phenomena with divinity is an
[All those blossoms are fallen in the North’s wintry blast. To enrich the One
God among them all this Olympian world had to perish.
...
like the dead stroke of the pendulum-clock, ungodded nature serves slavishly
the law of gravity.]
19
“Die Götter Griechenlands” exists in two version. I quote lines 153–7, 166–8, of
the original version of 1788 (Petersen and Beißner 1943, 194; Kurscheidt and
Oellers 1991, 162, note p. 174). According to a note by the editors, the effect of the
wintry winds of the North is reminiscent of Winckelmann’s distinction between
the fair climate of Greece and the rough northern climate, which is the cause of the
distinction between Greek and Northern art, Kultur, and religion.
20
Grimm (1844, 835), “unser naives alterthum liebt es solche belebung durch die
gebräuche der anrede und verwandtschaft hervorzuheben.” For the family
relationship of alr and knífr see Rask (1818, 133); cf. Sigurðsson and Jónsson
(1848–1887, I, 346). I owe the precise references to the 1818 and 1848 editions to
Professor Roberta Frank (Yale).
21
The text of the riddle is badly damaged at the beginning, but all commentators
are agreed that horns are involved, whether or not they are gables, or one of the
On Allegory 17
[My brother is not here, but brotherless I must, at the edge of the table,
guard my stand, must stand firm. I do not know where in the possessions of
men my brother has to inhabit a corner of the earth, (the brother) who had
occupied a high place by my side.]
two is an inkhorn as is now usually thought. See the full discussion in Göbel
(1980, 426–9, 436–44).
22
Stanley (1994, 45–7). For a different view of the immediacy of perception when
Wisdom is experienced naked, see Waterhouse (1986, 69–71).
23
For the Old English see Endter (1922, 42–3); cf. Hargrove (1902, 42), Carnicelli
(1969, 75–6). Endter and Hargrove print a text of Augustine’s Soliloquia under the
Old English. Hargrove (1904, = 1970, 68–9), usefully italicizes Alfred’s additions.
In the passage quoted here only the first sentence goes back to the Latin, Nunc
illud quaerimus qualis sis amator sapientiae.
24
Though not recorded in the dictionaries, bær-lic may be regarded as a
compound, like bær-fot “barefoot”, since the adjective is uninflected; bær-lic has
no parallel in other Germanic languages, and is presumably a nonce-formation.
25
The editors do not accept the manuscript reading as involving non-expression of
the subject pronoun; and its omission is unusual in Old English when person and
number, in this case þu, is to be inferred only from the ending of lufast, and not
from what precedes. Pogatscher (1901, 286–7) has no clear parallel for such
18 Allegory Through the Ages
swiðe, and þe lyst hine swa wel nacodne ongitan and gefredan þæt þu
noldest þætte26 ænig clað betweuh were. Ac he hine wyle swiðe seldon
ænegum mæn swa openlice geawian;27 on ðam timum þe he ænig lim swa
bær eowian wile þonne eowað he hyt swiðe feawum mannum. Ac ic nat hu
þu hym onfon mage mid geglofedum handum. Ðu scealt æac don bær lic28
ongean gyf ðu hine gefredan wilt.
[But I should like that the two of us now find out of what kind the lovers of
Wisdom must be. Do you not know that every person who very much loves
another man would rather pat and kiss the other man on the bare body than
where there are clothes between them? I now perceive that you so very
much love Wisdom, and so much long to get to know and feel him naked
that you do not want any cloth to come between. But he (scil. Wisdom)
will only very rarely show himself so openly to any person; at those times
when he is willing to display any limb thus bare then he displays it to very
few people. But I do not know how you can perceive him with gloved
hands. You too must put your bare body against his if you wish to feel
him.]
omission; the most that can be said, however, is that it is unusual, not that it is
impossible.
26
MS þæt ic ænig.
27
The next clause has eowian in a closely similar use. DOE (Cameron, et al. 1986)
takes the form to be from eowian with initial g-, a development not uncommon in
Kentish; cf. Jordan-Crook (1974, § 82).
28
Perhaps bær lic is to be regarded as a compound (cf. note 24, above), but when
the adjectival element is uninflected any distinction between adjective + noun and
nominal compound is undemonstrable.
29
MS lofodest as if “didst praise”, but “to love” is required here, not “to praise”.
The Latin has si alicujus pulchrae feminae amore flagrares.
On Allegory 19
Abstracts allegorized
In the nineteenth century, as we have seen, figures represent such abstracts
as Justice, Glory, Death, and La Patrie in the Panthéon in Paris, Liberty on
Ellis Island welcomes newcomers to the United States, and Gibson has
placed Queen Victoria between Clemency and Justice, complicating the
group by further symbolisms. As Richard Blackmore (1695, sig. [bii]ro)
says, Vices and Virtues are habitually treated allegorically in words:
centuries earlier Prudentius’ Psychomachia had inspired and inspirited a
world of Christian allegory. No wonder then that abstracts are brought to
life in Old English, for example in the late poem, Judgement Day II (lines
235–42):30
[Then Drunkenness disappears with the drinks and eatables, and Laughter and
Play run off together, and Lechery too goes away from here, and
Closefistedness, the vice, goes far away, and every kind of guilty Wantonness,
hastening then into the shades; and wretched, enfeebled Sleep, sluggish with
Somnolence, flees slinking backwards.]
30
Caie (2000, 98). Cf. Stanley (1996, 213-14).
31
Wilson 1938, 10, and source, p. 11; Ker 1960, fol. 74ro; Bennett and Smithers
1968, 250; d’Ardenne 1977, 170.
20 Allegory Through the Ages
“Ant ich,” he seið, Fearlac, “o mi trowðe, bluðeliche, nawt tah efter þet hit
is, for þet ne mei na tunge tellen, ah efter þet ich mei ant con, þertowart ich
chulle reodien.”
[And Prudence asks her, “Where do you come from, Fear, Death’s
remembrancer?” “I come,” says he, “from hell.” “From hell?” says
Prudence, “and have you seen hell?” “Yes,” says Fear, “truly, time and
again.” “Now,” Prudence says then, “for your truth’s sake, tell us truly
what kind of place hell is, and what you have seen in it.” “And so I shall,”
says Fear, “gladly, on my truth, not though according to what it is, for no
tongue can tell that, but according to what I can tell and know how to, I’ll
make an effort in that direction.”]
The brothers Death and Sleep sound all right in English and would have
worked in Greek, a language Shelley was at home in. His personification
is, however, at times far-fetched: neither Death nor the moon is endowed
with lips, blue or otherwise, Sleep is hardly rosy, though the morn is so,
and may be thought to announce its presence by blushing when seen
“throned on ocean’s wave”. We may be dealing with some kind of
hypallage, a “fallacy” akin to, but not identical with, “the pathetic fallacy”
condemned by Ruskin, unless felt by him to be an “Idea of Truth”, and
then perhaps accorded the accolade “exquisite”, or even praised for
“exquisite sincerity”, Ruskin’s judgement of Keats’s “over the unfooted
sea” in Hyperion, book iii:32 “[T]his fallacy is of two principal kinds.
32
Cook and Wedderburn (1903–1912): V (1904), Modern Painters, III, 201–20,
ch. XII ‘Of the Pathetic Fallacy’, at pp. 205 § 5 (definition) and 208 § 8 (on Keats).