Allegory is one of the techniques of allegory. It expresses in a concrete image an abstract idea, a concept (wisdom, love, fidelity, wisdom, goodness, etc.). An allegory, unlike a symbol, can have only one, specific interpretation. So, in European cultural tradition the cross is understood as an allegory of faith, the lion is an allegory of power, the heart is an allegory of love, etc.
Many allegorical images have mythological origins. For example, ancient greek goddess Themis acts as an allegory of justice, and the Roman Fortune is an allegory of happiness.
This technique is often used in parables and fables, where the wolf allegorically depicts greed, the fox - cunning, etc.
In addition to well-known allegories, there are also author’s ones. These include images of things from V. Mayakovsky’s “Mystery-Buffe”: Sickle, Hammer, Needle, Saw, etc. As one of the methods of allegorizing heroes, the authors use “speaking” names and surnames: secretary Molchalin for A. Griboyedov, judge Lyapkin -Tyapkin by N. Gogol, the mayor of Negodyaev in the city of Glupov by M. Saltykov-Shchedrin, the “chief commander” of Pobedonosikov by V. Mayakovsky, etc.
(Source: Schoolchildren's Handbook: grades 5-11. - M.: AST-PRESS, 2000)
Unlike the grotesque, allegory and symbol do not deform the real appearance of reality (unless, of course, we take into account the animalistic allegory of the fable). And if we nevertheless classify them as conventional forms, it is primarily because we have before us two-plane images that offer us certain conditions to understand the need to move to another dimension of meaning. The essence here is not contained directly in the phenomenon, as is the case with things and processes real world. In symbol and allegory, it seems to be hidden behind the phenomenon, hidden “on the other side” of it. Symbol and allegory presuppose the existence of two semantic series: the one contained in the image, and the one to which it hints. The coexistence of the depicted and the implied is what unites these conventional structures.
What separates them? The allegory quite clearly and directly hints at the second wide plan of the image. It hints verbally: the second dimension of its meaning is suggested to the reader either in the form of a fable maxim, or in the form of a decoding title (“The Cart of Life” by Pushkin), or directly in the text (“The key of youth, the key is fast and rebellious,” “And the third key is the cold key oblivion" - in Pushkin).
Allegory by Krylov
However, the degree of persistence of the allegorical allusion varies. The fable allegory that resorts to maxims most steadily and consistently transfers thought into the background of the image. In the pre-Krylov fable, it is assigned to the author’s word and appears, as a rule, in the finale. But Krylov is already rebuilding and diversifying the forms of its implementation. Often she reveals to him a quickly thrown aphorism, a clot folk wisdom. Such an aphorism not only ends, but sometimes even opens the fable text (“The strong are always to blame for the powerless,” etc.). Sometimes a maxim is put into the mouths of fable characters, imbued with the naturalness of a living spoken word addressed to the interlocutor. The meaning of Krylov’s moral teaching is often narrower than the figurative picture that unfolds in the fable plot. And the images of Krylov’s characters contain possibilities of meaning that are not blocked by fable sentiment. Not blocked, if only because along with them the unique Russian way of life, manifestations of Russian morals enter into the world of Krylov’s fable, and all this no longer fits into the faceless universality of moral teaching.
In general, the less persistently and straightforwardly an allegorical image strives to decipher its meaning, the more full-blooded the image, the more lively the allegorical picture. To be convinced of this, it is enough to compare, for example, Baratynsky’s “The Road of Life” and Pushkin’s “The Cart of Life.”
Allegory in "The Road of Life" by Baratynsky
Baratynsky’s lyrical miniature, literally from line to line, accumulates in its composition details that point to the second allegorical plane of the image: “the road of life”, “good fate”, “postal years”, “pathways of life”. All these are metaphors in which the conjugation of two plans is so obvious that we do not for a moment lose the feeling of how dependent the first “road” layer of the image is here. Only the line “they take you from the tavern to the tavern” falls out of the metaphorical context. However, even that is only partly. The context deciphers its meaning, and it becomes clear to us that Baratynsky’s “taverns” are a designation of stages of human existence. At all poetic image Baratynsky balances on the brink between allegory and extended metaphor, so frank are the connections between two spheres of life (objective and psychological).
Allegory in Pushkin's "Cart of Life"
Compared to Baratynsky’s “The Road of Life,” in Pushkin’s “The Cart of Life,” the subject-plot layer of the image is widely deployed. What Baratynsky casts fleetingly (the image of the stages of human existence), in Pushkin receives a wide compositional turn.
The entire poem is perceived as an allegory of three ages human life: youth, maturity and old age. Hints at the second, allegorical meaning of the image are scattered more sparingly here; they are only in the title of the poem and in the image of time: “dashing coachman - gray time.” But the main thing is that Pushkin’s picture of the road journey is enriched with such details that give it a certain pictorial autonomy. It is entertaining in itself, if only because of the change in the very real, psychologically accurate moods of the traveler. First, the liveliest curiosity, the joy of movement and the readiness to boldly face all the hardships of the journey; then a decline in interest and the appearance of a feeling of inconvenience of the journey and, finally, indifference and habit, extinguishing the sharpness and freshness of impressions. Pushkin's allegory bears the imprint of a daring poetic simplicity and comic grace for those times, which, however, does not obscure the dramatic seriousness of its meaning. The conversational intonation and abundance of prosaism only strengthen this impression.
A different speech pattern of thought is characteristic of Baratynsky’s allegory. Its romantically elevated style (“golden dreams”, “good fate”, “madmen”) prompts one to recall the traditionally refined vocabulary of Russian elegiac lyrics early XIX centuries.
Allegory in the poem "Tavern of Life" by Annensky
Sometimes an allegorical allusion appears in a work as a sharp semantic surprise. Until we stumble upon it, we tend to perceive what is depicted in a life-like, rather than conventional, way. This is the poem by Innokenty Annensky, “The Tavern of Life.”
The last word of this poem, “undertaker,” sharply shifts the semantic relationships of all details. At first we see a colorful image of a tavern, perceived through the eye of a regular. And only having risen to the top of the last, “key” word, we see how in a single moment the curtain seems to fall from the trivial masquerade of life before our eyes. The second one opens, tragically deep meaning images, and all the specifics of it begin to sound in a new way. And the attributes of a tavern feast with its naked prosaicity, and the ominous grimace of boredom emerging through the feverish thirst for oblivion, and the dull repetition of life’s ritual, designed only to distract thought from the menacing and dark underbelly of existence - everything is found here special meaning in the light of the final truth about the fatal proximity of death. Death is always nearby, always on guard and ready to blow on the melted candle stub.
Allegorical image of China
Beyond the fable, in which allegory is organic insofar as here it grows into the genre principle of the image, beyond these limits, allegory in poetry always carries with it a certain risk and threat to rationality. Therefore, in the 19th century, allegory reminds itself less and less often in poetry, gravitating, rather, to prose, to its satirical genres. Here it is used as easy way encryption of meaning and as a form of artistic “defamiliarization.” And in both qualities in satire and in criticism of XIX centuries, for example, they have used the allegorical image of China. Allowing the picture of Russian morals to be slightly veiled (however, in such a way that the meaning of the image was quite accessible to the “initiates”), this allegory with all its “Chinese” attributes, defamiliarizing the perception of Russian reality, created comic effect. Chinese traditionalism was perceived by Russian progressives (Belinsky, for example) as an exaggerated form of social immobility, and the notorious Chinese mandarins - as a caricatured embodiment of despotism. Of course, all this was more a myth than a reality, but a myth that was convenient to use for harsh criticism of the “ulcers of Russian reality.” A. K. Tolstoy picks up the allegorical semantics of China with masterly comic timing.
The example of the allegorical use of “Chinese” semantics proves that allegory in poetry (and in prose too) is not always individual in its artistic origin. It is sometimes borrowed from the arsenal of tradition, but, picked up by a major artistic individual, it naturally acquires a unique artistic turn.
Allegorical image of the sea
Such, for example, is the traditional image of traveling by sea (of course, this is the sea of life, or the sea of troubles, or, finally, the sea of fate) with all its set of plot motifs: a storm, a shipwreck, a desired harbor. These motives can be presented in full or with any links cut off. But in any case, the reader’s perception, accustomed to the allegorical parallel “sea” - “life,” easily penetrates into the second semantic plane of the image. The traditional allegorism of this correlation, apparently, made it easier for the reader to interpret the plot allegorically Pushkin's poem"Arion" (a plot based on ancient myth about Arion) in the light of the author's fate, despite the absence of any obvious allegorical allusions.
An allegorical image can be placed at the center of a fairly extensive prose narrative. And then it becomes its focus, the focus, absorbing the plot and semantic lines of the whole. Such an image sometimes borders on symbolism, but differs from a symbol in transparency and definiteness of meaning. This is the allegory of the “red flower” in the story “Red Flower” by V. M. Garshin.
Allegory by Garshin and Novalis
The context of the story leaves no doubt that this is an allegorical image of evil. The breadth of its semantic horizons and its philosophical nature make it similar to a symbol. But there is no hidden shimmer of meaning and a sense of captivating depth generated by the symbol in Garshin’s image. For this to become quite obvious, it is enough to compare it with the symbolism " blue flower"in the novel by the outstanding German romantic Novalis “Heinrich von Ofterdingen”. Novalis contains enormous conjugating energy in this image; he leaves many reflections in the structure of the novel, connecting first of all its two spheres, two worlds - prosaic and poetic, real and ideal. In It also reflects Novalis’s utopian dream of the possibility of a total “romanticization” of life, and his perception of the fairy tale as the universal beginning of poetry. “The Blue Flower” is the embodiment of the elusive and inexplicable poetry of existence, scattered in the world and, as it were, gathered in a single “object.” and a symbol of the magically elusive soul of Matilda, and which for Henry concentrated all the charm of the world, for this soul is nothing more than an emanation of “eternal femininity” It is not without reason that in the finale of the novel it seems to be reborn in a new incarnation (according to the law of metempsychosis) in the guise of a young man. a creature that reminds Henry of his deceased beloved.
Allegory and metaphor. The other day I wrote a poem and thought seriously about them. What is allegory in literature? What about the metaphor? I suddenly realized that I could hardly remember the differences. Therefore, today is a repetition. Who's with me? 🙂 During the analysis, we also discovered this important concept like paths. We’ll also wander through them and look at examples of tropes in literature.
I received the information from Wikipedia, Kvyatkovsky’s poetic dictionary and the encyclopedia of the poet of stichera. Then stated here in my own words in a very, very abbreviated form. For dummies :)
Paths. Not unknown paths, but different ones
Allegory and metaphor... It turns out that they are related! Because they are all paths.
Yes Yes! Exactly. And not only them. There are many more tropes. And about them a little later.
But first you need to understand their essence. Let's get started.
A trope is a word or expression used, so to speak, inappropriately to enhance imagery.
For example. You say “light breakfast”. And here it is! This very trope already appears here. Because you didn’t mean that you raise breakfast without difficulty. You meant something else! This is where the trope lies.
But allegory and metaphor, as well as puns, comparisons, epithet and much, much more, these are all types of these same tropes. Let's try to figure it out, at least with some of them. And let's start, perhaps, with an allegory.
Allegory. What is allegory in literature?
So. Allegory... This is the endowment of some abstract concept, well, for example, the soul, with a certain concrete image. Actually, it turns out that the allegory is rather visual. The image of death in the form of a skeleton or justice in the form of a woman with scales - this is what it is - an allegory in its visual execution.
But this point does not in the least prevent the presence of allegory in literature. After all, the image can be described in words in such a way that no questions arise with visualization.
The most striking and obvious example, in my opinion, of allegories in literature is Krylov’s fables.
Each little animal there implies some kind of human quality. The donkey is an allegorical image of stubbornness, the fox, as usual, of cunning, the lamb of meekness, and so on.
And now, having slightly understood the concept of allegory, I can say that in the verse allegorical images are presented as the main characters. And now, having with you the concept of allegory and examples of its definition, you can, as a training, find allegorical images in this poem :)
An example of allegory in prose... For example. Allegorical image of time...
Now let's move on to the metaphor.
Metaphor
Metaphor is something that comes across us at every step. Even at this very step :)
It is a figurative use of a name, property, or action, simply because the name, property, or action is very similar to what one would like to express. For example, “it’s raining”, “ iron will", "iron Horse".
But here are the metaphors from the poem: “foamy fog”, “wash the bones”, “through laughter”, “varnish with vodka”, etc.
Metaphor also happens different types, but we probably won’t go so deep. I will only note that if a metaphorical expression is revealed over a large segment or throughout the entire verse, then it will be an extended metaphor. For example, according to this statement, a verse contains a detailed metaphor for autumn recipes throughout the entire verse, if we consider “autumn recipes” as a metaphorical expression.
Well, since this is the case, let’s try to briefly consider other types of paths in examples.
Metonymy
This is the replacement of one concept in an expression with another – similar in some respects. For example, “The glasses are foaming” instead of “Champagne is foaming” or “I read Pushkin” instead of “I read Pushkin’s poems.” I couldn’t find it in “Love” and “Autumn Recipes”. If anyone finds it, let me know.
Synecdoche
A type of metonymy. Using a particular instead of a whole or vice versa. “I need a roof” instead of “I need a place to live.”
Epithet
A figurative definition, a description of something. That is, when you, describing the property of this very thing, use a figurative meaning for the description.
Pun
It turns out that this is also a trope. A pun is when you use it in the same phrase different meanings the same word. A pun is possible, for example, when using homonyms. We have poems with homonyms, for example, (“I already have the right to know that right is on the right”)
Litotes
- understatement, softening - “life is only a moment.” And here -
Hyperbola
On the contrary—a deliberate exaggeration—“he eats like an elephant.”
Dysphemism
Everything is simple here - a rough designation of a non-rough concept. For example, instead of “face” - “muzzle”... Next - yourself :)
Euphemism
- vice versa. Replacing something crude with something neutral. For example, the use of “pancake”, “tree-winder”, etc. instead of swear words.
Comparison
This is when something is compared with something in order to enhance the imagery of the object of comparison. For example, “And he suddenly waved it away indifferently, Like a annoying fly in the heat.”
Periphrase
Indirect mention of something. That is, they seemed to mention it, but did not directly name it.
For example: “And with him - no sleep, no Murzik, no guest.” “No Murzik” - here we mean “no pet.” Or "night star". Is this clear?
Personification
This is when inanimate objects acquire the properties and characteristics of animate ones. " Well, you can handle it, surrounded by whistling
From the north, call your little sister...»
Irony
It's clear. This is when they say one thing, seem to be praising, but mean and do not hide it - the exact opposite, for example, “Well done!”
Sarcasm
– highest degree irony. This is already when with anger and hatred.
Well, it seems that we have looked at the main types and examples of tropes in literature.
I hope that it has become clearer to someone what allegory is in literature and how allegory and metaphor differ. I feel like it! Therefore - hurray, comrades (presumably, this was another type of trope - pathos 🙂)!
Thanks for reading!
Themis - an allegory of justice
Allegory is a means of allegory, artistic expression of ideas or concepts embedded in a specific image. By its nature, allegory is a rhetorical form, since it was originally aimed at conveying the hidden subtext of an expression through indirect descriptions.
The depiction of allegory occurs through the method of abstracting human concepts into personified images and objects. Thus, acquiring an abstract, figurative meaning, the allegorical image is generalized. The ideological concept is contemplated with the help of this image, for example, Themis characterizes justice, the fox characterizes cunning, etc.
Poetic allegory
A poetic allegory is the image of the “prophet” in A. S. Pushkin’s poem “The Prophet” (1826), in which the true poet is embedded as a seer, the chosen one of God:
Arise, prophet, and see and listen,
Be fulfilled by my will,
And, bypassing the seas and lands,
Burn the hearts of people with the verb.
The emergence and development of allegory
The allegory, which arose from mythology, was widespread in folk art. Followers of Stoicism considered Homer the founder of allegory, Christian theologians considered the Bible. In ancient centuries, the allegorical tradition gained a significant foothold in the imagery-rich art of the East, Rome, and also in Greece under the influence of oriental ideas.
Allegory manifested itself most of all in the art of the Middle Ages from the end of the 13th century, when its rational basis was combined with symbol. The German art critic I. I. Winkelman established the concept of “allegorical form” as a condition contributing to the creation of an ideal work of art. The aesthetic concept of the scientist is directly related to the allegory “ beautiful art“, based, in his words, not on rational “rules”, but on contemplation - “feelings taught by the mind.” The medieval allegorical tradition was continued by representatives of the art of Baroque and Classicism.
During the period of romanticism (XVIII-XIX centuries), allegory was combined with symbol, as a result of which the “allegory of the infinite” appeared - an allegorical representation formed on the basis of the concept of “conscious mysticism” characteristic of representatives German romanticism F. Schlegel, F. Baader.
In the twentieth century, rationalism lost its leading position due to sophisticated psychologism and deep artistic meaning modern works, but the allegory remained significant in literary genres, which are allegorical moralizing stories: fables, parables, medieval morality tales; in the genre science fiction and others. Real geniuses in the use of allegory were Russian writers I. A. Krylov and M. E. Saltykov-Shchedrin, famous for their fables.
Since the twentieth century, the artistic device of allegory has been especially often used to express the hidden ideology of works of ironic or satirical literary genres, such as George Orwell’s satirical story-parable “Animal Farm” (1945).
The word allegory comes from Greek allegoria, which means allegory.
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In the article we will consider the essence and examples of such literary device like an allegory.
Concept of allegory
Many are often faced with the question: allegory - what is it? The meaning of the word allegory must be sought from the Greeks; translated from their language, allegory means “allegory.” If we define this concept, then allegory is artistic technique, the essence of which is to express an abstract concept through a concrete, obvious image.
Probably the most common example of an allegory is image of death in the form of a skull and crossbones, or a figure in a black robe with a scythe. Allegory images have been widely used since the Middle Ages and the Renaissance by artists on their canvases until the 9th century. In modern art, interesting allegories are used much more masterfully for a more subtle, invisible expression of the meaning of the work, allowing the viewer to catch the hidden hint of the author. This is the role of allegory.
Examples
It cannot be said that allegory can be found exclusively in literary speech. We ourselves, often without noticing it, in Everyday life We use allegorical expressions. Eg, "first swallow"- a sign of approaching good changes, a new and long-awaited event. Or "crow in peacock feathers» - a person who tries to show himself as important, irreplaceable, significant, although he himself is not so.
Everyone knows that image of a snake wrapped around a bowl is a symbol of medicine, and Themis girl with a blindfold holding scales in her hands represents justice. The image of a heart means love, the cross means faith. This is all an allegory.
What is allegory in literature
Allegory has been found in literature since antiquity. A striking example Homer’s poems “The Odyssey” and “The Iliad” serve, where the allegorical image of Odysseus is identified with the inquisitive, inexhaustible thought of man, and his wife Penelope is identified as a touching and indisputable image of love, fidelity and female devotion.
In the works of the ancient Greek fabulist Aesop, an allegory was used: when describing animals, the author ridiculed and flaunted human greed, pretense and stupidity. Later, his style of allegorical presentation would be called Aesopian language.
In addition, there is an allegory in the literature of the Middle Ages; in the texts of the Holy Scriptures, religious hymns, parables, and the works of the Fathers of the Church, many images have an allegorical motif. Many allegories came to us from the Bible: Judas symbolizes betrayal, and the Mother of God symbolizes sinlessness, moral purity, impeccable morality and innocence.
Many allegorical examples can be found in the works of Verhaeren, Ibsen, France, and in the brilliant work of Dante “ Human Comedy", in Shakespeare's sonnets, Shelley's poems. It is worth considering the fact that in the works of the 9th-20th centuries. period of rationalistic philosophical traditions allegory was practically not used at all.
By the way, Russian authors could not do without allegories. Ballads by Zhukovsky, satire by Saltykov-Shchedrin, works by Ilf and Petrov, Chekhov, poems by Mayakovsky, fables by Krylov - an inexhaustible source of witty and subtle allegories.
Allegory in Krylov's fables
Often, when talking about allegory, we are interested in the most vivid, memorable examples from fiction. And Krylov’s allegory is a clear confirmation of this.
Each of his fables is a small funny story, where the main characters are exclusively forest dwellers, revealing to the reader in a comic form a certain norm of behavior or action, often not the most exemplary.
In each of the characters of the forest heroes, we recognize something similar, close among our surroundings. Describing his characters, Krylov touches more on human vices and virtues than on the character of the animal. The author’s allegory of the fable is as follows: The Fox symbolizes cunning, trickery, lies, impudence, servility and ingratiation for one’s own benefit. Donkey is an image of stubbornness, stupidity, illiteracy and ignorance. The rooster appears to us as an example of arrogance, pride and narcissism. The bear personifies strength, power, kindness, and sometimes limitations and sluggishness. The dragonfly is carelessness, and the hare is cowardice and boasting.
Krylov's works have many faces. In some, the author makes fun of characters, and in others, relationships between people, the foundations of life, public order. The allegory of the fable “The Wolf and the Lamb” perfectly reflects the relationship between the government and the people, between the all-having, the all-powerful and the subordinate, the strong and the weak. And as often happens in life, the strong try to prove their power by mocking and pushing around the weak.
And Krylov has fables in which our historical events are reflected. So, for example, the fable “The Wolf in the Kennel” tells the story of events in the years Patriotic War 1812, when french emperor tried to hold peace negotiations with Russia. Krylov portrayed Napoleon as a wolf, and commander Kutuzov as an experienced hunter. When the Wolf ends up in a kennel (on Russian territory), he himself is not happy, this can be understood from the lines: “In a minute, the kennel became hell.” Trying to avoid his bitter fate, he uses cunning to negotiate, but the smart hunter does not give in.
What is the difference between an allegory and a metaphor?
The question often arises: what is the difference between metaphor and allegory? How and when is allegory or metaphor used correctly? Let's figure it out.
Allegory is an allegory, a visual, pictorial expression of abstract phenomena through a concrete image, i.e. in an allegory, a specific image receives an abstract meaning, is generalized, a particular concept is contemplated through the image. According to the mechanism of creation, allegory is close to metaphor.
Functions of allegory: creating subtext, bright image, characteristics of psychological character features, moral assessment.
Allegory is especially clearly manifested in various didactic poetic genres, for example: fable, parable. They are usually built entirely on this technique. This is also typical for other allegorical works, the basis of which is the intention to illustrate or explain something abstract in concrete terms.
Where can allegory be used? This remedy is very common in various fields art. It is feasible not only in poetry, but also in various plastic arts. Such as sculpture or allegory in painting. It is common for images artistic reality, is used traditionally both in book literature and folklore. Dictionary literary terms defines this means as an image through a concrete image of an abstract concept. Allegory is very often used in fables and fairy tales. In them, under the guise of animals, various human vices can be implied. Important political and historical events may be depicted allegorically. In Russian literature, the masters of using this tool were I. A. Krylov and M. E. Saltykov-Shchedrin. Each in their own genre, they created magnificent examples of works (allegorical). The use of this technique by both authors is complex.
The panther, lion and she-wolf represent the three dominant vices that were then considered prevalent in the world, namely: voluptuousness, pride and greed. (Dante)
Question 22. Stylistic functions of allusion.
Allusion is a trope consisting of an allusion to a literary, historical, mythological or political fact, enshrined in textual culture or in colloquial speech:
An allusion is the borrowing of a certain element from a foreign text, which serves as a reference to the source text, is a sign of the situation, and functions as a means for identifying certain fixed characteristics. In this sense, an allusion is an intertext, an element of an existing text included in the text being created.
If an allusion is understood broadly, then it can consist of a direct mention and be hidden. Hidden allusions can be periphrastic or constructed as a riddle.
Allusions can be well-known and contextual. Contextual allusions are understandable in a certain era or in a certain circle.
The technique of allusion can be used to veil the meaning in conditions of censored press (“Aesopian language”).
Allusion is very effective stylistic device creating imagery, expressiveness, influencing the mental and sensory spheres of the addressee.
M.D. Tukhareli offers the following classification of allusions according to their semantics:
Proper names are anthroponyms. This group also includes: zoonyms often found in works of art - names of animals and birds; toponyms - geographical names; cosmonyms - names of stars, planets; ktematonyms - names historical events, holidays, works of art, etc.; theonyms - names of gods, demons, mythological characters etc.
Biblical, mythological, literary, historical and other realities.
Echoes of quotes, popular sayings, contamination, reminiscence.
From the point of view of structure, an allusion can be represented by a word, a combination of words, and verbal formations larger in volume and design. M.D. Tukhareli distinguishes allusions - super-phrase unities, allusions - paragraphs, allusions - stanzas, allusions - prose stanzas, allusions - chapters, and finally, allusions - works of art.
As for the last type of allusion, A. Mamaeva calls it architectonic. Such an allusion is represented by a whole work of art that repeats the arrangement of parts and features of another work of art. But only one example of this kind of allusion has been found in world literature - “Ulysses” by D. Joyce, duplicating Homer’s “Odyssey”.
Functions of allusions
As part of a work of art, allusion has enormous potential for creating subtext. This technique gives the author the opportunity to convey in a concise form a large number of information, express your attitude towards characters or events, lead the reader to a certain thought. Allusion performs the following functions:
Evaluative-characterizing (comparing a character with some object);
Text-structuring.
The intratextual connection carried out by allusion refers to a form of associative cohesion, since it helps in holding together a work of art and at the same time introduces additional information from the outside.
Leaving the denunciation without attention,
King Judah himself consoled
And anger with the noise of punishment
He promised to humble me for a long time! (Pushkin)