In myths of the Binbinga people of northern Australia , Bobbi-Bobbi was a supernatural being who lived in the heavens in the Dreamtime . He was a huge snake, similar to the Rainbow Serpent , and was originally benevolent towards humans. From the heavens, he saw that humans needed more than just water to survive, so he created flying foxes for them to catch and eat. When the bats flew too high for the humans to catch them, Bobbi-Bobbi removed one of his own ribs and gave it to humans who used it as the first ever boomerang .
33-405: According to the tradition, some humans were not satisfied with these gifts and anxious to see what heaven looked like. Two men pretended they wanted to open a hole in the sky and thank Bobbi-Bobbi personally. They hurled the rib-boomerang and tore a huge hole in the clouds which startled Bobbi-Bobbi so much that he failed to catch the boomerang which fell back to Earth and killed the foolish men. This
66-539: A mythical creature or mythological creature ) is a type of fantasy entity, typically a hybrid , that has not been proven and that is described in folklore (including myths and legends ), but may be featured in historical accounts before modernity . In the classical era , monstrous creatures such as the Cyclops and the Minotaur appear in heroic tales for the protagonist to destroy. Other creatures, such as
99-410: A blank wall (514a–b). The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world (514c–515a). According to the allegory, the shadows are as close as the prisoners get to viewing reality, until one of them finds his way into the outside world where he sees the actual objects that produced
132-480: A character, place, or event can be interpreted to represent a 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. Writers and speakers typically use allegories to convey (semi-) hidden or complex meanings through symbolic figures, actions, imagery, or events, which together create
165-440: A fantastical approach. It seems the religious and moral implications of animals were far more significant than matching a physical likeness in these renderings. Nona C. Flores explains, "By the tenth century, artists were increasingly bound by allegorical interpretation, and abandoned naturalistic depictions." Allegory As a literary device or artistic form, an allegory is a narrative or visual representation in which
198-666: A plot-driven fantasy narrative in an extended fable with talking animals and broadly sketched characters, intended to discuss the politics of the time. Yet, George MacDonald emphasized in 1893 that "A fairy tale is not an allegory." J. R. R. Tolkien 's The Lord of the Rings is another example of a well-known work mistakenly perceived as allegorical, as the author himself once stated, "...I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history – true or feigned – with its varied applicability to
231-418: Is a figurative approach, relying on a set of concepts associated with key terms in order to create an allegorical decoding of the text." Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances. Thus,
264-509: Is complex, since it demands we observe the distinction between two often conflated uses of the Greek verb "allēgoreīn," which can mean both "to speak allegorically" and "to interpret allegorically." In the case of "interpreting allegorically," Theagenes appears to be our earliest example. Presumably in response to proto-philosophical moral critiques of Homer (e.g., Xenophanes fr. 11 Diels-Kranz ), Theagenes proposed symbolic interpretations whereby
297-854: The harpies . These monsters thus have the basic function of emphasizing the greatness of the heroes involved. Some classical era creatures, such as the (horse/human) centaur , chimaera , Triton and the flying horse Pegasus , are found also in Indian art . Similarly, sphinxes appear as winged lions in Indian art and the Piasa Bird of North America. In medieval art , animals, both real and mythical, played important roles. These included decorative forms as in medieval jewellery, sometimes with their limbs intricately interlaced. Animal forms were used to add humor or majesty to objects. In Christian art , animals carried symbolic meanings, where for example
330-486: The unicorn , were claimed in accounts of natural history by various scholars of antiquity. Some legendary creatures originated in traditional mythology and were believed to be real creatures--for example, dragons , griffins and unicorns. Others are based on real encounters or garbled accounts of travellers' tales, such as the Vegetable Lamb of Tartary , a sheeplike animal which supposedly grew tethered to
363-465: The 12th-century works of Hugh of St Victor and Edward Topsell 's Historie of Foure-footed Beastes (London, 1607, 1653) and its replacement in the study of nature with methods of categorisation and mathematics by such figures as naturalist John Ray and the astronomer Galileo is thought to mark the beginnings of early modern science. Since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which
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#1732791833926396-639: The Gods of the Iliad actually stood for physical elements. So, Hephestus represents Fire, for instance (for which see fr. A2 in Diels-Kranz ). Some scholars, however, argue that Pherecydes cosmogonic writings anticipated Theagenes allegorical work, illustrated especially by his early placement of Time (Chronos) in his genealogy of the gods, which is thought to be a reinterpretation of the titan Kronos, from more traditional genealogies. In classical literature two of
429-554: The Papal Bull Unam Sanctam (1302) presents themes of the unity of Christendom with the pope as its head in which the allegorical details of the metaphors are adduced as facts on which is based a demonstration with the vocabulary of logic: " Therefore of this one and only Church there is one body and one head—not two heads as if it were a monster... If, then, the Greeks or others say that they were not committed to
462-626: The Promised Land. Also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israel's exile to Babylon. Allegorical interpretation of the Bible was a common early Christian practice and continues. For example, the recently re-discovered Fourth Commentary on the Gospels by Fortunatianus of Aquileia has a comment by its English translator: "The principal characteristic of Fortunatianus' exegesis
495-452: The assembly", which originates from ἀγορά ( agora ), "assembly". Northrop Frye discussed what he termed a "continuum of allegory", a spectrum that ranges from what he termed the "naive allegory" of the likes of The Faerie Queene , to the more private allegories of modern paradox literature . In this perspective, the characters in a "naive" allegory are not fully three-dimensional, for each aspect of their individual personalities and of
528-429: The author may not have recognized. This is allegoresis, or the act of reading a story as an allegory. Examples of allegory in popular culture that may or may not have been intended include the works of Bertolt Brecht , and even some works of science fiction and fantasy, such as The Chronicles of Narnia by C. S. Lewis . The story of the apple falling onto Isaac Newton 's head is another famous allegory. It simplified
561-519: The best-known allegories are the Cave in Plato's The Republic (Book VII) and the story of the stomach and its members in the speech of Menenius Agrippa ( Livy ii. 32). Among the best-known examples of allegory, Plato 's Allegory of the Cave , forms a part of his larger work The Republic . In this allegory, Plato describes a group of people who have lived chained in a cave all of their lives, facing
594-655: The book would not have ended with the Ring being destroyed but rather with an arms race in which various powers would try to obtain such a Ring for themselves. Then Tolkien went on to outline an alternative plot for "Lord of The Rings", as it would have been written had such an allegory been intended, and which would have made the book into a dystopia . While all this does not mean Tolkien's works may not be treated as having allegorical themes, especially when reinterpreted through postmodern sensibilities, it at least suggests that none were conscious in his writings. This further reinforces
627-616: The care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ." This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition and example of the Bible. In the late 15th century, the enigmatic Hypnerotomachia , with its elaborate woodcut illustrations, shows the influence of themed pageants and masques on contemporary allegorical representation, as humanist dialectic conveyed them. The denial of medieval allegory as found in
660-527: The earth. A variety of mythical animals appear in the art and stories of the classical era . For example, in the Odyssey , monstrous creatures include the Cyclops , Scylla and Charybdis for the hero Odysseus to confront. Other tales include Medusa to be defeated by Perseus , the (human/bull) Minotaur to be destroyed by Theseus , and the Hydra to be killed by Heracles , while Aeneas battles with
693-405: The events that befall them embodies some moral quality or other abstraction; the author has selected the allegory first, and the details merely flesh it out. The origins of allegory can be traced at least back to Homer in his "quasi-allegorical" use of personifications of, e.g., Terror (Deimos) and Fear (Phobos) at Il. 115 f. The title of "first allegorist", however, is usually awarded to whoever
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#1732791833926726-621: The horn of a unicorn." This is because the translators of the King James erroneously translated the Hebrew word re'em as unicorn. Later versions translate this as wild ox. The unicorn's small size signifies the humility of Christ. Another common legendary creature that served allegorical functions within the Middle Ages was the dragon . Dragons were identified with serpents, though their attributes were greatly intensified. The dragon
759-475: The idea of gravity by depicting a simple way it was supposedly discovered. It also made the scientific revelation well known by condensing the theory into a short tale. While allegoresis may make discovery of allegory in any work, not every resonant work of modern fiction is allegorical, and some are clearly not intended to be viewed this way. According to Henry Littlefield's 1964 article, L. Frank Baum 's The Wonderful Wizard of Oz , may be readily understood as
792-662: The information a fifth-century upper-class male needed to know into an allegory of the wedding of Mercury and Philologia , with the seven liberal arts the young man needed to know as guests. Also, the Neoplatonic philosophy developed a type of allegorical reading of Homer and Plato. Other early allegories are found in the Hebrew Bible , such as the extended metaphor in Psalm 80 of the vine and its impressive spread and growth, representing Israel's conquest and peopling of
825-523: The lamb symbolized Christ, a dove indicated the Holy Spirit , and the classical griffin represented a guardian of the dead. Medieval bestiaries included animals regardless of biological reality; the basilisk represented the devil , while the manticore symbolised temptation. One function of mythical animals in the Middle Ages was allegory . Unicorns, for example, were described as extraordinarily swift and uncatchable by traditional methods. It
858-578: The moral, spiritual, or political meaning the author wishes to convey. Many allegories use personification of abstract concepts. First attested in English in 1382, the word allegory comes from Latin allegoria , the latinisation of the Greek ἀλληγορία ( allegoría ), "veiled language, figurative", literally "speaking about something else", which in turn comes from ἄλλος ( allos ), "another, different" and ἀγορεύω ( agoreuo ), "to harangue, to speak in
891-507: The shadows. He tries to tell the people in the cave of his discovery, but they do not believe him and vehemently resist his efforts to free them so they can see for themselves (516e–518a). This allegory is, on a basic level, about a philosopher who upon finding greater knowledge outside the cave of human understanding, seeks to share it as is his duty, and the foolishness of those who would ignore him because they think themselves educated enough. In Late Antiquity Martianus Capella organized all
924-421: The thought and experience of readers. I think that many confuse applicability with allegory, but one resides in the freedom of the reader, and the other in the purposed domination of the author." Tolkien specifically resented the suggestion that the book's One Ring , which gives overwhelming power to those possessing it, was intended as an allegory of nuclear weapons . He noted that, had that been his intention,
957-440: Was always heat present in these locations. Physical detail was not the central focus of the artists depicting such animals, and medieval bestiaries were not conceived as biological categorizations. Creatures like the unicorn and griffin were not categorized in a separate "mythological" section in medieval bestiaries, as the symbolic implications were of primary importance. Animals we know to have existed were still presented with
990-480: Was believed that the only way for one to catch this beast was to lead a virgin to its dwelling. Then, the unicorn was supposed to leap into her lap and go to sleep, at which point a hunter could finally capture it. In terms of symbolism, the unicorn was a metaphor for Christ. Unicorns represented the idea of innocence and purity. In the King James Bible , Psalm 92 :10 states, "My horn shalt thou exalt like
1023-417: Was supposed to have been larger than all other animals. It was believed that the dragon had no harmful poison but was able to slay anything it embraced without any need for venom. Biblical scriptures speak of the dragon in reference to the devil, and they were used to denote sin in general during the Middle Ages. Dragons were said to have dwelled in places like Ethiopia and India, based on the idea that there
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1056-416: Was the earliest to put forth allegorical interpretations of Homer. This approach leads to two possible answers: Theagenes of Rhegium (whom Porphyry calls the "first allegorist," Porph. Quaest. Hom. 1.240.14–241.12 Schrad.) or Pherecydes of Syros, both of whom are presumed to be active in the 6th century B.C.E., though Pherecydes is earlier and as he is often presumed to be the first writer of prose. The debate
1089-443: Was the first time that Death had visited the human race, so Bobbi-Bobbi has remained aloof in heaven ever since, making no more attempts to help humans. This article about a legendary creature is a stub . You can help Misplaced Pages by expanding it . This article relating to a myth or legend from Australia is a stub . You can help Misplaced Pages by expanding it . Legendary creature A legendary creature (also called
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