Keeping with the pattern of switching back and forth between the Current Insanity and Anything Else, let’s discuss two books I just happen to have read at the same time.
The above definitions are somewhat useful. What one wants to be able to say is when something is not an allegory – the essence of a definition. With the broadest stroke of the definitions above, one can possibly say that the work under consideration is not symbolic, and, therefore, not an allegory.
(Sorry for the digression here. I thought I knew what allegory is, but then made the mistake of thinking about it, looking it up, and now have to sort through it. The interwebs are indeed fields of rabbit holes.)
Made the mistake – woe is me! – of visiting the Oracle Wikipedia, and thus fell into a cesspool of woke:
As a literary device or artistic form, an allegory is a narrative or visual representation in which a character, place, or event can be interpreted to represent a hidden meaning with moral or political significance. Authors have used allegory throughout history in all forms of art to illustrate or convey complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.People way too big for their britches
One little phrase removes all usefulness from this thing: “…can be interpreted to represent…” Thus, any possibility of saying what is or is not allegory is banished, in favor of everything being an allegory if it merely can be interpreted to represent something else, a feat any college sophomore can perform with ease on absolutely anything. Cafeteria food in an allegory for control exerted on the masses by structural oppression. I’m oppressed by the paucity of avocado on my toast …. And so on. (1)
Then, since logical consistency is a social construct of an oppressive white patriarchy and thus must be violated, we shift the grounds back to the intentions of the author, by which we mean ‘artist’ – there I go with that consistency thing again! – thus contradicting the original ‘definition’, which is based on the interpretation of the consumer of art: “Authors have used allegory throughout history in all forms of art to illustrate or convey complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.”
Now we possibly need a college junior to explain how this contradiction is suspended but not resolved in a synthesis, but I haven’t had breakfast yet, so we’ll stop. Suffice it to say: if allegory is something the reader or viewer reads into something, then there’s no definition possible – no one can say what is and is not allegory, or rather, everything is allegory.
Back in the real world, we’re not completely freed from this muddiness even if we look to the author’s intent. Often, authors don’t express their intent; often they will say that there’s more to their works than what they, themselves consciously put there – maybe the work is allegorical even if that’s not what they were thinking at the time. But at least in some cases, we can say: Pilgrim’s Progress and Animal Farm are allegories. Those two stories were intended by their authors as allegories, and are really not open to any other, contradictory, interpretation. The character of Christian IS any Christian pilgrim; the pigs ARE the Russian Communist leadership. There’s practically no story if they’re not.
Unfortunately, at least from a tidiness point of view, few books fall this neatly into or out of this category. Is Dante’s Inferno allegorical? Of course! Is is completely allegorical, like Pilgrims Progress or Animal Farm? No. There are real characters throughout who are meant primarily as themselves, and only secondarily as stand-ins for the sinners as a class. Paolo and Frencesca are two real people, not just illustrations or symbols. Christian and the pigs have little if any personality apart from their symbolism.
Then there is the concept of a natural symbol, where its symbolic content fundamentally rests in the nature of the thing. Sometimes, symbol versus sign is used, with symbol having a connection by nature to the thing symbolized, while signs are merely conventional. Unfortunately, English does not really support that distinction, in that people have long used both those terms for both those concepts without distinction. Too bad.
The classic example: red, the color of fire and blood, symbolizes those things and things related to them by nature; a stop sign is conventional – there’s nothing about red hexagon that means ‘stop’ by nature (we had to write ‘STOP’ on it to get the message across initially), but red is the right color (or among the right colors) for a sign that needs to grab people’s attention in order to function. A lovely sky-blue stop sign would seem wrong, and not just by convention.
Allegory will be stronger the more it employs natural symbols rather than signs whose meaning is not connected to the thing it is a sign of by anything other than convention. Paolo and Francesca are blown about against their wills, which wills they had surrendered to their passions. Leaves in the wind is a good natural symbol for that situation….
Sigh. All this wandering around just to talk about two short books.
I found myself reading Pilgrim’s Progress, John Bunyan’s 1678 Christian allegory, because it was mentioned on John C. Wright’s blog and I realized I’d never read it. Wright stated that it is probably the only allegory out there that can be read on its artistic merits. We’re not talking about the use of real, flesh-and-blood characters (or, at least, characters written so that we might imagine them real) to represent, more or less consciously on the part of the author, ideas or social problems or what have you. Rather, Pilgrim’s Progress characters have names that ARE their characters: Christian, Faithful, Hopeful, Little-faith, Ignorance, Worldly Wiseman, and so on. There’s very little to even the main characters beyond what you might guess from their names.
Bunyan was a Puritan preacher who spent a good chunk of his adult life in jail for refusing to stop preaching Puritanism. 17th century England oscillated between the established church tolerating ‘heretics’ and throwing them in jail or worse. Bunyan’s life straddled a couple of these peaks and troughs. He is assumed to have began writing Pilgrim’s Progress during one his extended stays in prison. It became an instant classic, translated into over 200 languages and hardly being out of print since.
Buyan’s skill is in how he uses his various allegorical figures and places to illustrate his Puritan theology. He sees this story in a series of dreams: A Christian, a husband and father, is visited by Evangelist, who warns him to leave his home town, City of Destruction, and pilgrimage to the Celestial City carrying a heavy burden on his back. His family thinks him crazy, so he leaves them.
The rest of the story concerns Christian’s journey to the Celestial City, the places he visits or avoids, how he is tempted and aided, who he meets along the way, the fates of those whom he meets (spoiler: his companion Faithful is martyred – this is good, in context, the greatest good in fact; Hopeful completes the journey with Christian, while Little-faith, a character in a story within a story within a dream, eventually makes it. Ignorance fairs less well.)
Conclusion: it is a good story to read, both for a Christian and for anyone who wants insight into how Puritans think. In some ways, the person treated most harshly in the book is Ignorance. He comes off worse than many of the active sinners and tempters, with more pages spent having Hopeful and Christian harangue him than are spent on any other single topic. We look back to Bunyan to understand this: he is a Puritan preacher, hell fire and brimstone style. His enemy is Ignorance, meaning people who do not understand or who reject the central themes of Calvinism. The damned are the damned – you give converting them a shot, then move on. But the Ignorant, those who travel the same path you are travelling but are doing it WRONG – they are the real challenge.
In Bunyan’s dream, Ignorance shows up at the Pearly Gates all alone. He knocks, and – it is not opened unto him. Rather, the agents of the King ask to see his papers – scroll, certificate – proving he is among the elect. When he fails to produce them, he is bound by two angels and cast into Hell. So a guy who left everything, followed the path, rejected or escaped from temptation, and saw his journey to Heaven through, is damned because he DID IT WRONG!
Despite all its protestations to the contrary, Calvinist Puritanism remains as legalistic an expression of Christianity and anyone could hope to find.
Ignorance is an annoying character, so sure that if his heart doesn’t trouble him, he has not erred. He is confident that, since he left everything, went on the pilgrimage, and did the required good works along the way, that he is going to be admitted to Heaven. Hopeful and Christian go after him hammer and tongs, because he is not embracing his utter depravity and relying entirely on the completely unearned and undeserved Grace of God as expressed in Jesus. Ignorance repeatedly says he does not understand what they mean by that idea. He loves Jesus, and follows His commandments – isn’t that enough?
A Catholic Pilgrim’s Progress would be Dante’s Divine Comedy. But say a lesser Catholic poet tried his hand at doing the allegory Bunyan-style: first, Sacraments and Saints would be essential characters, accompanying the pilgrims on their way. Major time would be given to those church officials who have failed in their callings – you know, all the bad popes and clerics that populate Dante’s Hell – and the damage they do and their unpleasant eternal fates, how to identify and avoid them, how to honor the offices without succumbing to the evil of the office holders. There would be Good Pastor and Bad Pastor, Patron Saint and False Saint. The Cloud of Witnesses would include all those people by whom God, as secondary causes and in order to have His glory reflected by creatures made in His image, passed the Faith all the way down to Christian.
But mostly, there would be Purgatory. Ignorance would knock, and the doors would be opened, and he would finally SEE. In that moment of searing clarity, all the errors of his ignorance, all his pride and foolishness, would be clear to him – and he, himself, of his own will, would seek to hide from the Face of God. Yet God, in his infinite mercy and love, would not cast out one who had tried, who made the effort however badly, and who has endured the journey. Thus, to the singing of choirs of angels rejoicing that another soul had been saved, Ignorance would be carried to the foot of the mountain of Purgatory, to be purified of his pride.
It seems now is later.
This review will be abstract, as spoilers would be a terrible thing. You just need to read this book. It begins as a tale of unrequited, and unrequitable, love: the girl our hero loves is engaged to marry his best friend, and his sense of honor makes doing anything to frustrate those plans unthinkable. Yet, the two of them keep bumping into each other alone, without her fiancé, even so far as meeting up at the manor house on the Isle of Sark, which said fiancé has recently inherited. Through a hundred little nudges and coincidences, they end up at the door of a particular room within the manor house, and…
Stuff happens. Increasingly insane stuff, stuff that starts out uncanny and moves on from there, until – really crazy stuff happens. A story that starts out as a tragic romance, a love triangle between two best friends and the woman they both love, ends up involving a number of saints and mythical creature.
And I’m afraid I must leave it at that. The setting for the story – the very real Isle of Sark – is, in real life, about as romantic and epic a place as exists on the planet. A little island off the coast of France, the last feudal fief in Europe, pirates, caves, foot paths with 300′ drops on either side, Nazi conquest and resistance, ancient farms, ancient families, the world’s only Dark Sky island – awesome.
As for the allegory bit that I started writing about – well, it spoils it pretty intensely. So, I recommend reading the book before reading this little bit, because the plot twists, if you can call them that, are epic, and this will ruin it.
You’ve been warned.
In the final chapters, it is revealed that the Rose or Red Room is only the first enchanted layer of memory, that there are several nested rooms. When deep enough in, enough memory is restored, that Hal Landfall, the main protagonist, is revealed to be Henwas Lanval, a Knight of the Round Table who had been seduced by the sea fairy Tryamour; Laurel du Lac is the fairy Lorelei, who aimed to seduce and destroy Hal, Manfred is a monk and magician named Mandragora. Depending on whether each character is in or out of a chamber of memory, and on which chamber of memory each is in, they “know” who they are very differently.
So the question naturally arises: What is real? What is really going on? The soul of Manfred, in the innermost chamber of all, speaks of dreams, of how everything we see in this life is shadows and confusion, we have forgotten who we are. Only the saved soul sees the long line of triumph back through to Adam, of souls that have done well and who still do well. Henry really is a great knight fighting a great battle. He just thinks, in his forgetfulness, that he is a student working on a Master’s thesis. He is part of a great army protecting what is really important.
Is something in there an allegory? Is the whole story? I tend to think it doesn’t matter. What is different: Wright’s characters are people first, warts and wings and all; Bunyan’s are allegories first, and only accidentally people, if they are people at all.
- Oops – not an allegory – it’s the literal truth that the paucity of avocado on my toast IS the me being oppressed by the avocado -hoarding patriarchy. If I understand the approach correctly.