{"id":333,"date":"2014-07-08T02:31:58","date_gmt":"2014-07-08T02:31:58","guid":{"rendered":"http:\/\/grupos.unileon.es\/mebar\/?page_id=333"},"modified":"2015-09-18T13:16:30","modified_gmt":"2015-09-18T13:16:30","slug":"allegoria-critica-literaria","status":"publish","type":"page","link":"https:\/\/grupos.unileon.es\/mebar\/allegoria-critica-literaria\/","title":{"rendered":"Allegoria. Cr\u00edtica literaria ingl\u00e9s"},"content":{"rendered":"

CAMPBELL, George<\/strong>. The Philosophy of Rhetoric. <\/em>London: V. Strahan and T. Cadell, \u00a01776. 2 vols.<\/p>\n

Campbell.<\/strong> 1776<\/p>\n

Metaphor<\/strong><\/p>\n

\u00a0[v.\u00a02, p. 117] There are particularly three sorts of writing wherein we are liable to be imposed on by words without meaning.<\/p>\n

The first is, where there is an exuberance of metaphor. Nothing is more certain than that this trope, when temperately and appositely used, serves to add light to the expression and energy to the sentiment. On the contrary, when vaguely and intemperately used, nothing can serve more effectually to cloud the sense, where there is sense, and, by consequence, to conceal the defect, where there is no sense to show. And this is the case, not only where there is in the same sentence a mixture of discordant metaphors, but also where the metaphoric style is too long continued, and too far pursued.* [Ut modicua autem atque translationis usus illustrat orationem: ita frequens et obscurat et taedio complet; continuus vero in allegoriam et aenigmata exit. QUINT. I. viii. C. 6] The reason is obvious. In common speech the words are the immediate signs of the thought. But it is not so here; for when a person, instead of adopting metaphors that come naturally and opportunely in his way, rummages the whole world in quest of them, and piles them one up on another, when (2: 116) he cannot so properly be said to use metaphor, as to talk in metaphor, or rather when from metaphor he runs into allegory, and thence into enigma, his words are not the immediate signs of his thought; they are, at best, but the signs of the signs of his thought. His writing may then be called what Spenser not unjustly styled his Fairy Queen, a perpetual allegory or dark conceit<\/em>. Most readers will account it much to bestow a transient glance on the literal sense, which lies nearest; but will never think of that meaning more remote, which the figures themselves are intended to signify. It is no wonder then that this sense, for the discovery of which it is necessary to see through a double veil, should, where it is, more readily escape our observation, and that where it is wanting we should not so quickly miss it. As to writers in this way, they are often misled by a desire of flourishing on the several attributes of a metaphor, which they have pompously ushered into the discourse, without taking the trouble to examine whether there are be any qualities in the subject to which these attributes can with justice and perspicuity be applied.<\/p>\n

\n

Synecdoche \/ Metonymy \/ Antonomasia<\/strong><\/p>\n

[v. 2, p. 178] What hath now been observed concerning metaphor may with very little variation be affirmed of these three other tropes, synecdoche, metonymy, and antonomasia. These are near akin to the former, as they also imply the substitution of one word for another, when the things signified are related. The only difference among them is, that they respect different relations. In metaphor the sole relation is resemblance; in synecdoche, it is that which subsisteth between the species and the genus, between the part and the whole, and between the matter and the thing made from it; in metonymy, which is the most various of the tropes, the relation is nevertheless always reducible to one or other of these three causes, effects, or adjuncts ; in antonomasia, it is merely that of the individual to the species, or conversely. There is one trope, irony, in which the relation is contrariety.<\/p>\n

\n

BLAIR, Hugh<\/span><\/strong>.<\/span>\u00a0Lectures on Rhetoric and Belles Lettres<\/span><\/em>. 1785.<\/em>\u00a0<\/em>Ed.\u00a0de Linda Ferreira-Buckley and S. Michael Halloram. \u00a0Carbondale: Southern Illinois University Press, 2005.<\/span><\/span><\/p>\n

Blair, Hugo.\u00a0Lecciones sobre la ret\u00f3rica y las bellas letras.<\/em>\u00a0<\/em>Trad.\u00a0<\/em>\u00a0Jos\u00e9 Luis Munarriz. \u00a0Madrid: Ibarra, 1817, 3\u00aa ed.<\/span><\/p>\n

Blair. <\/strong>(Ed. \u00a0de Linda\u00a0Ferreira-Buckley and S. Michael Halloram)\u00a0<\/strong>2005.<\/p>\n

[p.\u00a0<\/span>166] An Allegory may be regarded as a continued Metaphor; as it is the representation of some one thing by another that resembles it, and that is made to stand for it.<\/p>\n

Blair (trad. Munarriz, 1817, 167)
\n<\/span>Se puede mirar la alegor\u00eda como una met\u00e1fora continuada: pues es la representaci\u00f3n de una cosa por otra que se le parece, y que se pone para significarl<\/span>a.<\/p>\n

[p. 167] This is the first and principal requisite in the conduct of an Allegory, that the figurative and the literal meaning be not mixed inconsistently together. (\u2026) The only material difference between them, besides the one being short and the other being prolonged, is, that a Metaphor always explains itself by the words that are connected with it in their proper and natural meaning (\u2026) but an Allegory is, or may be, allowed to stand more disconnected with the literal meaning ; the interpretation not so directly pointed out, but left to our own reflection.<\/span><\/p>\n

Blair (trad. Munarriz, 71-72).
\nEl requisito primero y principal en la conducta de una alegor\u00eda, es que el sentido figurado y el literal no se mezclen de un modo incompatible. (\u2026) La \u00fanica diferencia esencial entre ellas, a mas de ser la una breve y la otra prolongada, es que la met\u00e1fora se explica siempre a s\u00ed misma por las palabras, que est\u00e1n conexas con ella en su sentido propio y natural (\u2026) Pero una alegor\u00eda est\u00e1 o puede estar menos enlazada con el sentido literal, y no se\u00f1alarse tan claramente en ella su inteligencia dej\u00e1ndola a nuestra propia reflexi\u00f3n.<\/span><\/p>\n

[p. 167-68] Allegories were a favourite method of delivering instructions in ancient times; for what we call Fables or Parables are no other than Allegories; (\u2026) An \u00c6nigma, or Riddle, is also a species of Allegory; one thing represented or imagined by another; but purposely wrapt up under so many circumstances, as to be rendered obscure. Where a riddle is not intended, it is always a fault in allegory to be too dark. The meaning should be easily seen through the Figure employed to shadow it.<\/span><\/p>\n

Blair \u00a0(trad. Munarriz, 1817, 72)
\nLas alegor\u00edas fueron un m\u00e9todo favorito de instrucci\u00f3n en los tiempos antiguos: pues no son otra cosa que alegor\u00edas las llamadas f\u00e1bulas (\u2026) Un enigma es tambi\u00e9n una especie de alegor\u00eda, en que se representa o imagina una cosa por otra; y que de prop\u00f3sito se envuelve bajo circunstancias que la oscurecen. Siempre que no se intente formar un enigma, es una falta la demasiada oscuridad de la alegor\u00eda. Se debe dejar ver f\u00e1cilmente la significaci\u00f3n por en medio de la figura empleada para hacerle sombra.\u00a0<\/span><\/p>\n

Metaphor<\/strong><\/p>\n

[p. 155] The relation which is far the most fruitful of Tropes I have not yet mentioned; that is, the relation of Similitude and Resemblance. On this is founded what is called the Metaphor: when, in place of using the proper name of any object, we employ, in its place, the name of some other which is like it; which is a sort of picture of it, and which thereby awakens the conception of it with more force or grace. This figure is more frequent than all the rest put together; and the language, both of prose and verse, owes to it much of its elegance and grace.\u00a0<\/span><\/p>\n

Blair \u00a0(trad. Munarriz, 1817, 36)<\/span><\/p>\n

No he mencionado aun la relaci\u00f3n mas abundante de los tropos; \u00e1 saber, la relaci\u00f3n de compracion y semejanza. En ella est\u00e1 fundada la que se llama met\u00e1fora; y esta se comete, cuando en lugar de usar el nombre propio de un objeto, empleamos en su lugar el nombre de algun otro, que le es semejante; lo cual es una especie de pintura suya, y por lo tanto despierta su idea con mas fuerza, \u00f3 mas gracia, esta figura se usa mas que todas las otras juntas: y el lenguage, tanto en prosa como en poesia, debe \u00e1 ella mucha parte de su elegancia y de su agrado<\/span>.<\/p>\n

[p. 157] This is a figure founded entirely on the resemblance which one object bears to another. Hence, it is much allied to Simile, or Comparison; and is indeed no other than a comparison, expressed in an abridged form. (\u2026) The comparison is only insinuated, not expressed: the one object is supposed to be so like the other, that, without formally drawing the comparison, the name of the one may be put in the place of the name of the other. \u201cThe minister is the pillar of the state.\u201d This, therefore, is a more lively and animated manner of expressing the resemblances which imagination traces among objects.\u00a0<\/span><\/p>\n

Blair \u00a0(trad. Munarriz, 1817, 37)<\/span><\/p>\n

Esta es una figura fundada enteramente en la semejanza, que tiene un objeto con otro. De aqui es, que est\u00e1 estrechamente unida con el simil, \u00f3 compracion; y no es otra cosa, \u00e1 la verdad, que una comparacion concebida en una forma compendiosa. (\u2026) La comparacion est\u00e1 solamente insinuada, no expresada: se supone que el un [sic] objeto es tan semejante al otro, que sin hacer formalmente la comparacion se puede poner el nombre del uno en lugar del nombre del otro. \u201cEl ministro es la columna del estado.\u201d Esta es la manera mas viva y animada de expresar las semejanzas, que la imaginacion descubre entre los objetos.\u00a0<\/span><\/p>\n

[p. 158] \u00a0Of all the Figures of Speech, none comes so near to painting as Metaphor. Its peculiar effect is to give light and strength to description; to make intellectual ideas, in some sort, visible to the eye, by giving them colour, and substance, and sensible qualities. )<\/p>\n

Blair (trad. Munarriz, 1817, 39)<\/span><\/p>\n

De todas las figures de la elocucion ninguna se acerca mas \u00e1 la pintura que la met\u00e1fora. Su efecto particular es dar luz y fuerza \u00e1 la descripcion; y hacer en alg\u00fan modo visibles las ideas intelectuales , prestandolas \u00a0color, cuerpo, y calidades sensibles.\u00a0<\/span><\/p>\n

[p. 159]\u00a0\u00a0\u2026 I proceed to lay down the rules to be observed in the conduct of Metaphors; and which are much the same for Tropes of every kind.<\/p>\n

The first which I shall mention, is, that they be suited to the nature of the subject of which we treat; neither too many, nor too gay, nor too elevated for it; that we neither attempt to force the subject, by means of them, into a degree of elevation which is not congruous to it; nor, on the other hand, allow it to sink below its proper dignity. This is a direction which belongs to all Figurative Language, and should be ever kept in view.<\/p>\n

Blair (trad. Munarriz, 1817, 43)<\/span><\/p>\n

\u2026paso \u00e1 establecer las reglas que deben observarse en la conducta de las met\u00e1foras; reglas, que deben observarse en toda clase de tropos.<\/span><\/p>\n

La primera es, que sean adaptables \u00e1 la naturaleza del asunto que tratemos; que no sean ni demasiadas, ni demasiado alegres, ni demasiado elevadas para \u00e9l; que no emprendamos llevar el asunto por medio de ellas \u00e1 un grado de elevacion incompatible; y que por el contrario no le dejemos decaer de su propia dignidad. Esta es una regla, que pertenece \u00e1 todo el lenguaje figurado; y que debe tenerse muy presente.\u00a0<\/span><\/p>\n

[p. 160] \u00a0The second rule, which I give, respects the choice of objects, from whence Metaphors, and other figures, are to be drawn. The field for Figurative Language is very wide. All nature, to speak in the style of Figures, opens its stores to us, and admits us to gather, from all sensible objects, whatever can illustrate intellectual or moral ideas. Not only the gay and splendid objects of sense, but the grave, the terrifying, and even the gloomy and dismal, may, on different occasions, be introduced into Figures with propriety. But we must beware of ever using such allusions as raise in the mind disagreeable, mean, vulgar, or dirty ideas. Even when Metaphors are chosen in order to vilify and degrade any object, an author should study never to be nauseous in his allusions.<\/p>\n

Blair \u00a0(trad. Munarriz, 1817, 45)<\/span><\/p>\n

La segunda regla es la relativa \u00e1 la\u00a0elecci\u00f3n\u00a0de los objetos, de donde deben tomarse las\u00a0met\u00e1foras y otra figuras. Muy basto es el campo del\u00a0<\/span>lenguaje\u00a0figurado. Toda la naturaleza,\u00a0para hablar en el mismo estilo, nos abre sus tesoros; y nos deja tomar del conjunto de objetos sensibles aquellos que puedan ilustrar las ideas intelectuales \u00f3 morales. No solamente los objetos festivos y espl\u00e9ndidos de los sentidos, sino aun los graves, los aterradores, y aun los\u00a0<\/span>sombr\u00edos\u00a0y funestos pueden en ciertas ocasiones introducirse\u00a0con propiedad en las figuras. Pero debemos guardarnos de emplear alusiones, que exciten en el \u00e1nimo ideas desagradables, bajas, vulgares, \u00f3 asquerosas: y aun cuando se escojan met\u00e1foras para envilecer y degradar de intento un objeto, debe procurar el autor no provocar jamas \u00e1 nausas con sus alusiones.\u00a0<\/span><\/p>\n

[p. 161] \u00a0 In the third place, as Metaphors should be drawn from objects of some dignity, so particular care should be taken that the resemblance, which is the foundation of the Metaphor, be clear and perspicuous, not far-fetched, nor difficult to discover. The transgression of this rule makes, what are called, harsh or forced Metaphors, which are always displeasing, because they puzzle the reader, and, instead of illustrating the thought, render it perplexed and intricate.<\/p>\n

Blair (trad. Munarriz, 1817, 47)<\/span><\/p>\n

En tercer lugar, asi como deben tomarse las met\u00e1foras de objetos de alguna dignidad; asi debe tenerse un cuidado particular en que la semejanza, que es el fundamento de la met\u00e1fora, sea clara y evidente, y no\u00a0tra\u00edda\u00a0de\u00a0<\/span>lejos, ni\u00a0<\/span>dif\u00edcil\u00a0de percibir. La\u00a0transgresion\u00a0de\u00a0esta regla hace violentas o forzadas las met\u00e1foras: lo cual disgusta siempre, porque embaraza al lector; y en lugar de ilustrar el pensamiento lo embrolla, y hace mas intrincado.\u00a0<\/span><\/p>\n

[p. 162] \u00a0In the fourth place, it must be carefully attended to, in the conduct of Metaphors, never to jumble metaphorical and plain language together; never to construct a period so, that part of it must be understood metaphorically, part literally: which always produces a most disagreeable confusion.<\/p>\n

Blair \u00a0(trad. Munarriz, 1817, 53)<\/span><\/p>\n

En cuarto lugar, en la conducta de las met\u00e1foras debe atenderse con cuidado a no mezclar jamas el lenguage metaf\u00f3rico con el sencillo; ni construir jamas un per\u00edodo, de modo que parte de \u00e9l se haya de entender metaf\u00f3ricamente, y parte literalmente: lo cual produce siempre la confusion mas desagradable.<\/span><\/p>\n

[p. 163] \u00a0In the fifth place, to make two different Metaphors meet on one object. This is what is called Mixed Metaphor, and is indeed one of the grossest abuses of this Figure.<\/p>\n

Blair \u00a0(trad. Munarriz, 1817, 58)<\/span><\/p>\n

Es aun mas defectuoso, en quinto lugar, hacer que dos met\u00e1foras diferentes recaigan sobre un solo objeto. Esto es lo que se llama met\u00e1fora mixta; y \u00e1 la verdad es uno de los mas groseros abusos de esta figura<\/span>.<\/p>\n

[p. 165] \u00a0A good rule has been given for examining the propriety of Metaphors, when we doubt whether or not they be of the mixed kind; namely, that we should try to form a picture upon them, and consider how the parts would agree, and what sort of figure the whole would present, when delineated with a pencil. By this means, we should become sensible, whether inconsistent circumstances were mixed, and a monstrous image thereby produced, as in all those faulty instances I have now been giving; or whether the object was, all along, presented in one natural and consistent point of view.<\/p>\n

Blair (trad. Munarriz, 1817, 62)<\/span><\/p>\n

Se ha dado una buena regla para examinar la propiedad de las met\u00e1foras, cuando se duda si son \u00f3 no de una clase mixta; \u00e1 saber, que tratemos de formar de ellas un cuadro; y consideremos c\u00f3mo se avienen las partes; y qu\u00e9 figura\u00a0<\/span>har\u00eda\u00a0el todo si estuviese\u00a0delineado con un pincel. Por este medio conoceremos palpablemente, si se mezclan circunstancias incompatibles; y si se forma de ellas una imagen monstruosa, como en los ejemplos\u00a0referidos; \u00f3 si el objeto se ha presentado siempre en un punto de vista\u00a0natural y compatible.\u00a0<\/span><\/p>\n

[p. 165] \u00a0As Metaphors ought never to be mixed, so, in the sixth place, we should avoid crowding them together on the same object.<\/p>\n

Blair (trad. Munarriz, 1817, 62-63)<\/span><\/p>\n

As\u00ed como jamas se deben mezclar las met\u00e1foras, as\u00ed debe evitarse, en sexto lugar, el amontonarlas sobre un mismo objeto.\u00a0<\/span><\/p>\n

[p. 165] \u00a0The only other rule concerning Metaphor, which I shall add, in the seventh place, is, that they be not too far pursued. If the resemblance, on which the figure is founded, be long dwelt upon, and carried into all its minute circumstances, we make an Allegory instead of a Metaphor; we tire the reader, who soon becomes weary of this play of fancy; and we render our discourse obscure.<\/p>\n

Blair (trad. Munarriz, 1817, 64)<\/span><\/p>\n

La \u00fanica regla que a\u00f1adir\u00e9, en\u00a0s\u00e9ptimo\u00a0lugar, acerca de las met\u00e1foras, es que no se lleven muy\u00a0adelante. Si se insiste mucho en la semejanza en que se funda la figura, y se lleva a esta por todas las circunstancias mas menudas; hacemos una\u00a0<\/span>alegor\u00eda\u00a0en lugar de\u00a0met\u00e1fora: cansamos al lector; el cual se fatiga en breve de este juguete de la\u00a0<\/span>fantas\u00eda: y\u00a0oscurecemos el discurso.\u00a0<\/span><\/p>\n

Metonymy<\/strong><\/p>\n

[p. 154] \u00a0\u00a0To Tropes, founded on these several relations, of cause and effect, container and contained, sign and thing signified, is given the name of Metonymy.<\/p>\n

Blair (trad. Munarriz, 1817, 34)<\/span><\/p>\n

A los tropos fundados en estas relaciones de causa y efecto, de continente y de contenido, de signo y de cosa significada se da el nombre de metonimia.\u00a0<\/span><\/p>\n

Synecdoche<\/strong><\/p>\n

[p. 155] \u00a0 When the whole is put for a part, or a part for the whole; a genus for a species, or a species for a genus; the singular for the plural, or the plural for the singular number; in general, when any thing less, or any thing more, is put for the precise object meant; the Figure is then called a Synecdoche.<\/p>\n

Blair (trad. Munarriz, 1817, 35)<\/span><\/p>\n

Cuando el todo se pone por la parte, o la parte por el todo; el g\u00e9nero por la especie, o la especie por el g\u00e9nero; el n\u00famero singular por el plural, o al contrario; y en general, cuando una cosa mas o una cosa menos se pone por el preciso objeto medio, entonces la figura se llama sin\u00e9cdoque.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

CAMPBELL, George. The Philosophy of Rhetoric. London: V. Strahan and T. Cadell, \u00a01776. 2 vols. Campbell. 1776 Metaphor \u00a0[v.\u00a02, p. 117] There are particularly three sorts of writing wherein we are liable to be imposed on by words without meaning. The first is, where there is an exuberance of metaphor. Nothing is more certain than […]<\/p>\n","protected":false},"author":16,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-333","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/333","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/comments?post=333"}],"version-history":[{"count":20,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/333\/revisions"}],"predecessor-version":[{"id":1957,"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/pages\/333\/revisions\/1957"}],"wp:attachment":[{"href":"https:\/\/grupos.unileon.es\/mebar\/wp-json\/wp\/v2\/media?parent=333"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}