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Remember that these generations were trained habitually to give great weight to the voice of their inner consciousness, and the inner consciousness of a sensitive man cries out that any such solution is false: that Homer is not a liar, but noble and great, as our fathers have always taught us. On the other side comes Heraclitus the allegorist.
The other remarkable edition was published about 1790. It is, both the text and cuts, printed from copperplate engravings, very handsomely executed. This is an honour conferred upon very few authors; nor was it ever conferred upon one more worthy the highest veneration of man than is the immortal allegorist.
To the allegorist, the fable or plot in epic or dramatic poetry was only a rind to cover attractively the kernel of truth. It was a means to an end, not an end in itself. As the influence of Aristotle's Poetics spreading through Italy, Germany, France, and England, gave the plot or fable more importance, allegory lost its hold on the minds of the critics.
Thus, while Hawthorne, as we shall see more fully further on, is essentially a dramatic genius, Bunyan a simple allegorist, and Milton an odic poet of unparalleled strength, who, taking dramatic and epic subjects and failing to fill them, makes us blame not his size and shape, but the too minute intricacies of the theme, there is still a sort of underground connection between all three.
The allegorist school gradually rallied round the idea of the cult of the heavenly bodies as the origin of the pagan religions; as late as the days of the French Revolution, Dupuis, in a voluminous work, tried to trace the whole of ancient religion and mythology back to astronomy.
There are thus two steps in Philo's theology, which seem to some extent to counteract each other; in the first place, he resolves the concrete physical expressions of the Bible into spiritual ideas, in the second he portrays those ideas in pictorial language and clothes them in personifications. The allegorizer requires an allegorist to interpret him aright.
If the serpent had not tempted Eve to break God's commandment, we should still be basking in Paradise." He looked at her curiously. "You believe that?" "Isn't it in the Bible?" she answered, seriously astonished. "Whatever the primitive Semitic allegorist may have thought, work is a blessing, not a curse." "Then you are an atheist!" Eileen recoiled from this strange young man.
He next appears in what many of his admirers find his most fascinating mood, as a joyous allegorist, the picture of Venus rising from the sea in this room, the "Primavera" which we shall see at the Accademia, and the "Mars and Venus" in our National Gallery, belonging to this epoch. But in order to understand them we must again go to history.
The fact that Hawthorne, when writing the story, said he did not know how it would end, is interesting as indicating that his literary habit was to let the story tell itself from within according to its impulses, and not to shape it from without by his own predetermined purpose; a pure allegorist, it may be observed, would have followed naturally the latter method.
The medieval Church had been Aristotelian, and "antagonism to the Roman Church had, doubtless, much to do with the Platonic revival, which spread from Italy to Cambridge." But, curiously enough, the Plato whom Cambridge served was not Plato the Athenian dialectician, but Plato the poet and allegorist. It was, in fact, Philo, the Jew, rather than Plato, the Greek, that inspired them.
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