ALLEGORY, in composition, a figurative mode of writing, which consists in selecting something analogous to a subject, instead of the subject itself ; and describ ing at length the particulars belonging to the former, In such a manner as to illustrate what we mean to enforce respecting the latter. It may be compared to an emble matical painting, in which we are left to discover the in tention of the artist by our own meditation ; with this difference, that in the one, colours and forms are em ployed ; in the other, words only. Both exercise the judgment, as well as the imagination, by pointing out sonic striking relation between objects which may be very different in most respects ; hut wnich agree so well in the circumstances brought belore us, that though the representative object is alone placed in our view, the resemblance leads us at once to apply all the par ticulars to the subject represented. Our ingenuity i9 thus exercised in a pleasing manner ; and we are at the same time instructed and amused. Sec METAPHOR and R u ETO Allegories were a very favourite method of delivering instructions in ancient times, and among rude nations, where the power of imagination is often found in greater vigour than among the most polished tribes. Jotham's allegory or parable of the trees choosing a king, in the ninth book of Judges, is one of the earliest examples of this kind of writing, that has descended to us. The fa bles of Esop, and those of Lokman or Pilpay, are also al legories or parables of very high antiquity; in which, by certain words and actions, attributed to beasts, or even to inanimate objects, the dispositions of men are figured ; and what we call the moral, is the unfigured sense or meaning of the allegory. An 2enigma or riddle is also
an allegory ; but rendered so obscure, as to be unfolded with difficulty. When an allegory is so dark as not to be easily interpreted, it becomes, in fact, art xnigma.
Allegorical writing was much in vogue, soon after the revival of letters in the middle ages ; and was prose cuted through works of very great length, so as to be come exceedingly tedious and perplexing. One of the best specimens of this kind of composition we have in Spenser's Fairy Queen ; which would not, however, now be read, did not the story, taken even in its literal sense, afford sufficient interest and entertainment to the reader.
A short and natural allegory, introduced into poetry, or any of the animated species of composition, produces a very happy effect, although it ought to be remembered, that this is rather the language of imagination, than of very strong and overwhelming emotion. In Prior's Henry and Emma, Emma, in the following allegorical language, beautifully describes her constancy to Henry : Did I but purpose to embark with thee On the smooth surface of a summer's sea, While gentle zephyrs play with prosperous gales, And fortune's favour fills the swelling sails 1 But would forsake the ship, and make the shore, When the winds whistle, and the tempests roar ? (m)