Allegorical Quotes

It is my mind, with its store of images, that gives the world color and sound; and that supremely real and rational certainty which I can "experience" is, in its most simple form, an exceedingly complicated structure of mental images. Thus there is, in a certain sense, nothing that is directly experienced except the mind itself. Everything is mediated through the mind, translated, filtered, allegorized, twisted, even falsified by it. We are . . . enveloped in a cloud of changing and endlessly shifting images.

A metaphorical weight lifted from his allegorical chest and Artemis Fowl felt himself again.

Fantasy and science fiction can be literal as well as allegorical and there’s nothing wrong with enjoying a monster like a giant squid for what it is, as well as searching for metaphor.

Everything was becoming allegorical, understood by the group mind, and especially this: "You're either on the bus...or off the bus.

Success is a decision, not a gift.

There are three types of people in this world. Firstly, there are people who make things happen. Then there are people who watch things happen. Lastly, there are people who ask, what happened? Which do you want to be?

Like everything in life, it is not what happens to you but how you respond to it that counts.

I don't like the word 'allegorical', I don't like the word 'symbolic' - the word I really like is 'mythic', and people always think that means 'full of lies', whereas of course what it really means is 'full of truth which cannot be told in any other way but a story'.

It is never about who is right or wrong, it is about what is best.

Too often, people get stuck in a state of over-thinking, the result is that they never reach a decision.

Saint Augustine … insisted that scripture taught nothing but charity. Whatever the biblical author may have intended, any passage that seemed to preach hatred and was not conducive to love must be interpreted allegorically and made to speak of charity.

No story can be devised by the wit of man which cannot be interpreted allegorically by the wit of some other man.

Compete like you cannot fail.

Q.Do you have any positive message, in your opinion? A.Indeed I do think that I do. Q.Such as what? A.The crying, almost screaming, need of a great worldwide human effort to know ourselves and each other a great deal better, well enough to concede that no man has a monopoly on right or virtue any more than any man has a corner on duplicity and evil and so forth. If people, and races and nations, would start with that self-manifest truth, then I think that the world could sidestep the sort of corruption which I have involuntarily chosen as the basic, allegorical theme of my plays as a whole.

Because, as we know, almost anything can be read into any book if you are determined enough. This will be especially impressed on anyone who has written fantastic fiction. He will find reviewers, both favourable and hostile, reading into his stories all manner of allegorical meanings which he never intended. (Some of the allegories thus imposed on my own books have been so ingenious and interesting that I often wish I had thought of them myself.)

Athletes who are able to stay completely focused in pursuit of their dreams are the ones that are most likely to become champions.

The first step is the most important. It is the most crucial and the most effective as it will initiate the direction you have chosen.

You can start to change your luck today. Begin believing that you can have what you desire and superior things will arrive.

If obstacles are large, jump higher.

If not now, when?

Act like a champion, and then become one.

I would rather see the portrait of a dog that I know, than all the allegorical paintings they can show me in the world.

If you have positive energy you will always attract positive outcomes.

Share your aspirations only with those who will support you, not those who will respond with doubt or lack of interest.

In the Louvre there is a picture, by Guido Reni, of St. Michael with his foot on Satan's neck. The richness of the picture is in large part due to the fiend's figure being there. The richness of its allegorical meaning also is due to his being there—that is, the world is all the richer for having a devil in it, so long as we keep our foot upon his neck.

It is action that creates motivation.

I woke up, smiling to myself at this dream with its allegorical aspects but with no real meaning.

First, however, I must deal with the matter of Jesus, the so-called savior, who not long ago taught new doctrines and was thought to be a son of God. This savior, I shall attempt to show, deceived many and caused them to accept a form of belief harmful to the well-being of mankind. Taking its root in the lower classes, the religion continues to spread among the vulgar: nay, one can even say it spreads because of its vulgarity and the illiteracy of its adherents. And while there are a few moderate, reasonable, and intelligent people who interpret its beliefs allegorically, yet it thrives in its purer form among the ignorant.

His unrivaled genius as an ideological novelist was this capacity to invent actions and situations in which ideas dominate behavior without the latter becoming allegorical. He possessed what I call an eschatological imagination, one that could envision putting ideas into action and then following them out to their ultimate consequences. At the same time, his characters respond to such consequences according to the ordinary moral and social standards prevalent in their milieu, and it is the fusion of these two levels that provides Dostoevsky's novels with both their imaginative range and their realistic grounding in social life.

And all was not perfect, but it was very good.

See it first in your mind, then become it.

Every time a champion makes a decision they have a chance to learn something new, regardless of the outcome.

The thrust of continuous action is the firewood which fuels motivation.

Look for solutions, instead of being difficult; be more thoughtful, instead of allowing anger to burn you out. Look at things from a different perspective, embrace change, look out for opportunities and you will feel much more in control.

Human beings across every culture I know about require such stories, stories with cool winds and wood smoke. They speak to something deep within us, the capacity to conceptualize, objectify and find patterns, thereby to create the flow of events and perceptions that find perfect expression in fiction. We are built this way, we create stories by reflex, unstoppably. But this elegant system really works best when the elements of the emerging story, whether is is being written or being read, are taken as literal fact. Almost always, to respond to the particulars of the fantastic as if they were metaphorical or allegorical is to drain them of vitality.

Irony is the kid who steals music and is stolen by the music.

Invest your energy in the things you can control.

A mind filled with negative thoughts makes you feel miserable and inadequate and will lead to failure after failure no matter how hard you try to succeed.

If you want to continue to be the best in the world, then you have to train and compete like you are second best in the world.

This is what I'm king of: a whirling mass of humans who either hate me or ignore me.

Hence all original religions are allegorical, or susceptible of allegory, and, like Janus, have a double face of false and true

I dislike Allegory – the conscious and intentional allegory – yet any attempt to explain the purport of myth or fairytale must use allegorical language. (And, of course, the more ‘life’ a story has the more readily will it be susceptible of allegorical interpretations: while the better a deliberate allegory is made the more nearly will it be acceptable just as a story.)

The men who were well enough to stand had moved across the carriage to cheer the Italians as they went past. A crutch waved out of the window; bandaged forearms made the Red Salute. It was like an allegorical picture of war; the trainload of fresh men gliding proudly up the line, the maimed men sliding slowly down, and all the while the guns on the open trucks making one's heart leap as guns always do, and reviving that pernicious feeling, so difficult to get rid of, that war *is* glorious after all.

If you remain static and wait for success to come to you it will certainly not happen.

Lucky people will focus on what’s in front of them rather than scrabbling about for what they’re searching for.

They don’t give Olympic medals out for talking a good game.

To think is good. To obsess is bad.

The challenge for you is to decide not what is important, but what is most important and then focus your attention on that.

Your current apathy is simply your soul telling you that it is confused.

It was an allegorical, metaphorical, rhetorical question.

This dichotomy between the spirits of Apollo and Dionysus suggests that the Greeks allegorically understood the different functions between the right and left brain.

Nowhere in Chaucer do we find what can be called a radically allegorical poem.

Explore. Train your conscious mind and your subconscious mind to start working for you by getting those great powers to move in a new direction. Start creating your own good luck today.

Remember, if you don’t do anything – if you don’t change the way your mind works and direct your subconscious mind to create the life you want – then everything stays the same, nothing changes.

Although you can’t go back in time and alter your natural level of potential, you can determine how much of that ability you tap into, exploit and develop for the future.

When you think a positive thought, you become positive.

Do you want to know what one of the secrets to achieving all of your goals is? You’ve got to be committed.

If not you, who?

It is one thing to know what should be done, it is another to do it.

Nothing could be any worse than having to turn to your friends, your colleagues and your loved ones and say –‘I gave up too soon’.

It was like an allegorical picture of war; the trainload of fresh men gliding proudly up the line, the maimed men sliding slowly down, and all the while the guns on the open trucks making one’s heart leap as guns always do, and reviving that pernicious feeling, so difficult to get rid of, that war is glorious after all.

If you listen repeatedly to religious speech, after enough repetitions you will actually begin to notice God and His works where there was just chaotic life going on before. What was formerly chance becomes a miracle. What was pain is now karma. What was human nature is now sin. And regardless of whether these religious memes are presented as Truth or as allegorical mythology, you’re conditioned just the same.

For many, lack of achievement is more a consequence of fear of taking a chance and getting uncomfortable.

The way forward is to stop pestering yourself for answers and let it, the creative part of your mind, come up with the solution when the time is right.

If you decide not to take action, you are going to fail, and even if you do take action, if you can’t keep up your motivation, you will simply end up back where you started.

These are the people who will encourage you to go after your dreams and will inspire you to succeed. Stick to them like a barnacle to a rock.

Success is virulent. Once you get the bug then it’s in you.

The people and successes in your life mirror your beliefs.

Tell me your thinking, and I’ll tell you what your life looks like.

Mix with positive-minded people as a means to tap into your unexploited potential.

Success is simply never giving in to failure - either in mind or body.

The universe, then, is God, of whom the popular gods are manifestations; while legends and myths are allegorical. The soul of man is thus an emanation from the godhead, into whom it will eventually be re-absorbed.

Have you considered that the Bible, like all religious doctrine, may be allegorical and symbolic, to direct us toward one holy entity of love, as opposed to a simplistic litiginous text to direct the behavior of human beings?

Silence is one of many forms of prayer.

To deliver your own personal maximum, you’ll realise there are no shortcuts; if you want to be a champion it is all about rolling your sleeves up and getting stuck in.

Trust in your own beliefs or succumb to the influence of others’.

See it, feel it, trust it!

The only test is what you see when you look in a mirror.

It is true to say that the secret of a winning formula is the ability to accept that there is a vast area of unexploited potential beyond what you currently perceive to be your maximum.

In order to get over the ethical difficulties presented by the naive naturalism of many parts of those Scriptures, in the divine authority of which he firmly believed, Philo borrowed from the Stoics (who had been in like straits in respect of Greek mythology), that great Excalibur which they had forged with infinite pains and skill—the method of allegorical interpretation. This mighty 'two-handed engine at the door' of the theologian is warranted to make a speedy end of any and every moral or intellectual difficulty, by showing that, taken allegorically or, as it is otherwise said, 'poetically' or, 'in a spiritual sense,' the plainest words mean whatever a pious interpreter desires they should mean.

god is love, and music is the language of love; therefore, music is the language of god. music is a language more profound than words. how often have you heard a great piece of music and felt that? great music does not just make you feel good; great music suggests some profound truth or mysterious meaning that objectively true but not translatable into words. attempts to translate music's meaning into words always fail. it is like trying to allegorize a symbol, trying to reduce to one literal, verbal meaning something that has many nonliteral, nonverbal meanings.

It showed a tiny baby girl floating in a clear glass vessel. The baby held a silver rose in one hand, a golden rose in the other. On its feet were tiny wings, and drops of red liquid showered down on the baby’s long black hair. Underneath the image was a label written in thick black ink indicating that it was a depiction of the philosophical child—an allegorical representation of a crucial step in creating the philosopher’s stone, the chemical substance that promised to make its owner healthy, wealthy, and wise. The colors were luminous and strikingly well preserved. Artists had once mixed crushed stone and gems into their paints to produce such powerful colors. And the image itself had been drawn by someone with real artistic skill. I had to sit on my hands to keep them from trying to learn more from a touch here and there.

I‘ve always agreed with the view that — with science fiction — its predictive powers were the least important or least relevant aspect of its public profile. I always loved stuff like Orwell‘s 1984, where he explicitly said “It‘s 1948, reversed.” I liked writers that were doing allegorical, satirical, fantastical versions of everyday life.

George Orwell introduced the dictator Big Brother in his novel 1984, as I’m sure you know. The book was an allegorical treatment of Stalinism, of course. And ever since then, the term ‘Big Brother’ has functioned as a social icon. That was Orwell’s great accomplishment. But now, in the real year 1984, Big Brother is all too famous, and all too obvious. If Big Brother were to appear before us now, we’d point to him and say, ‘Watch out! He’s Big Brother!’ There’s no longer any place for a Big Brother in this real world of ours.

It was said that the light was spoken into being by a single word, filling the darkness, creating something out of nothing, warmth out of cold, life out of death. It was said to be a light of creation, of laughter, of imagination and form and perfection. Of love.

The universe, then, is God, of whom the popular gods are manifestations; while legends and myths are allegorical. The soul of man is thus an emanation from the godhead, into whom it will eventually be re-absorbed. The divine ruling principle makes all things work together for good, but for the good of the whole. The highest good of man is consciously to work with God for the common good, and this is the sense in which the Stoic tried to live in accord with nature. In the individual it is virtue alone which enables him to do this; as Providence rules the universe, so virtue in the soul must rule man.

The world of shadows and superstition that was Victorian England, so well depicted in this 1871 tale, was unique. While the foundations of so much of our present knowledge of subjects like medicine, public health, electricity, chemistry and agriculture, were being, if not laid, at least mapped out, people could still believe in the existence of devils and demons. And why not? A good ghost story is pure entertainment. It was not until well into the twentieth century that ghost stories began to have a deeper significance and to become allegorical; in fact, to lose their charm. No mental effort is required to read 'The Weird Woman', no seeking for hidden meanings; there are no complexities of plot, no allegory on the state of the world. And so it should be. At what other point in literary history could a man, standing over the body of his fiancee, say such a line as this: 'Speak, hound! Or, by heaven, this night shall witness two murders instead of one!' Those were the days. (introduction to "The Weird Woman")

One of the countless symbolic or allegorical images of the sexual act is a deer hunt: A detail from a painting by the 16th-century German artist Cranach. The sexual implication of the deer hunt is underlined by a medieval English folk song called “The Keeper”: The first doe that he shot at he missed, And the second doe he trimmed he kissed, And the third ran away in a young man’s heart, She’s amongst the leaves of the green O.

We are all the spirit sons and daughters of a loving God who is our Father. We are part of His family. He is not a father in some allegorical or poetic sense. He is literally the Father of our spirits. He cares for each one of us. Though this world has a way of diminishing and demeaning men and women, the reality is we are all of royal, divine lineage. In that unprecedented appearance of the Father and the Son in the Sacred Grove, the very first word spoken by the Father of us all was the personal name of Joseph. Such is our Father’s personal relationship with each of us. He knows our names and yearns for us to become worthy to return to live with Him.

The human Heart to be allegorized as a cavern; at the entrance there is sunshine, and flowers growing about it. You step within, but a short distance, and begin to find yourself surrounded with a terrible gloom, and monsters of divers kinds; it seems like Hell itself. You are bewildered and wander long without hope. At last a light strikes upon you. You press towards it yon, and find yourself in a region that seems, in some sort, to reproduce the flowers and sunny beauty of the entrance, but all perfect. These are the depths of the heart, or of human nature, bright and peaceful; the gloom and terror may lie deep; but deeper still is this eternal beauty.

For a young person cannot judge what is allegorical and what is literal; anything that he receives into his mind at that age is likely to become indelible and unalterable; and therefore it is most important that the tales which the young first hear should be models of virtuous thoughts. There you are right, he replied; but if any one asks where are such models to be found and of what tales are you speaking—how shall we answer him? I said to him, You and I, Adeimantus, at this moment are not poets, but founders of a State: now the founders of a State ought to know the general forms in which poets should cast their tales, and the limits which must be observed by them, but to make the tales is not their business. Very

What we ourselves have fallen victim to -- and by no means allegorically -- is a virus destructive of otherness. And we may predict that -- even more than in the case of AIDS -- no science will be able to protect us from this viral pathology which, by dint of antibodies and immune strategies, aims at the extinction, pure and simple, of the other. Though, for the moment, this virus does not affect the biological reproduction of the species, it affects an even more fundamental function, that of the symbolic reproduction of the other, favouring, rather, a cloned, asexual reproduction of the species-less individual. For to be deprived of the other is to be deprived of sex, and to be deprived of sex is to be deprived of symbolic belonging to any species whatsoever.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.

The sixth of January, 1482, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the bourgeois of Paris in a ferment from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of “our much dread lord, monsieur the king,” nor even a pretty hanging of male and female thieves by the courts of Paris. Neither was it the arrival, so frequent in the fifteenth century, of some plumed and bedizened embassy. It was barely two days since the last cavalcade of that nature, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, to the great annoyance of M. lé Cardinal de Bourbon, who, for the sake of pleasing the king, had been obliged to assume an amiable mien towards this whole rustic rabble of Flemish burgomasters, and to regale them at his Hôtel de Bourbon, with a very “pretty morality, allegorical satire, and farce,” while a driving rain drenched the magnificent tapestries at his door.

Certainly the rise of the Christian fundamentalist movement was not a recovery of the Christianity of earlier centuries or of the apostolic church. It was a thoroughly modern phenomenon, a strange and somewhat poignantly pathetic attempt on the part of culturally deracinated Christians, raised without the intellectual or imaginative resources of a living religious civilization, to imitate the evidentiary methods of modern empirical science by taking the Bible as some sort of objective and impeccably consistent digest of historical data. It is of course absurd to treat the Bible in that way—though, frankly, no more absurd than thinking that “science shows that God does not exist”—but it is also most definitely not the way the Bible was read in the ancient or mediaeval church. The greatest Church Fathers, for instance, took it for granted that the creation narratives of Genesis could not be treated literally, at least not in the sense we give to that word today, but must be read allegorically—which, incidentally, does not mean read as stories with codes to be decrypted but simply read as stories whose value lies in the spiritual truths to which they can be seen as pointing.

to what purpose was allegory employed? For the function of allegory is not to hide but to reveal, and it is properly used only for that which cannot be said, or so well said, in literal speech. The inner life, and specially the life of love, religion, and spiritual adventure, has therefore always been the field of true allegory; for here there are intangibles which only allegory can fix and reticences which only allegory can overcome. The poem of Guillaume de Lorris is a true allegory of love; but no poem of Chaucer’s is. In Chaucer we find the same subject-matter, that of chivalrous love; but the treatment is never truly allegorical.

In the struggle against mountain heights, action is finally free from all machines, and from everything that detracts from man’s direct and absolute relationship with things. Up close to the sky and to crevasses—among the still and silent greatness of the peaks; in the impetuous raging winds and snowstorms; among the dazzling brightness of glaciers; or among the fierce, hopeless verticality of rock faces—it is possible to reawaken (through what may at first appear to be the mere employment of the body) the symbol of overcoming, a truly spiritual and virile light, and make contact with primordial forces locked within the body’s limbs. In this way the climber’s struggle will be more than physical and the successful climb may come to represent the achievement of something that is no longer merely human. In ancient mythologies the mountain peaks were regarded as the seats of the gods; this is myth, but it is also the allegorical expression of a real belief that may always come alive again sub specie interioritatis.

There exist few things more tedious than a discussion of general ideas inflicted by author or reader upon a work of fiction. The purpose of this foreword is not to show that "Bend Sinister" belongs or does not belong to "serious literature" (which is a euphemism for the hollow profundity and the ever-welcome commonplace). I have never been interested in what is called the literature of social comment (in journalistic and commercial parlance: "great books"). I am not "sincere," I am not "provocative," I am not "satirical." I am neither a didacticist nor an allegorizer. Politics and economics, atomic bombs, primitive and abstract art forms, the entire Orient, symptoms of "thaw" in Soviet Russia, the Future of Mankind, and so on, leave me supremely indifferent. As in the case of my "Invitation to a Beheading" - with which this book has obvious affinities - automatic comparisons between "Bend Sinister" and Kafka's creations or Orwell's cliches would go merely to prove that the automaton could not have read either the great German writer or the mediocre English one.

Interpretation first appears in the culture of late classical antiquity, when the power and credibility of myth had been broken by the “realistic” view of the world introduced by scientific enlightenment. Once the question that haunts post-mythic consciousness—that of the seemliness of religious symbols—had been asked, the ancient texts were, in their pristine form, no longer acceptable. Then interpretation was summoned, to reconcile the ancient texts to “modern” demands. Thus, the Stoics, to accord with their view that the gods had to be moral, allegorized away the rude features of Zeus and his boisterous clan in Homer’s epics. What Homer really designated by the adultery of Zeus with Leto, they explained, was the union between power and wisdom. In the same vein, Philo of Alexandria interpreted the literal historical narratives of the Hebrew Bible as spiritual paradigms. The story of the exodus from Egypt, the wandering in the desert for forty years, and the entry into the promised land, said Philo, was really an allegory of the individual soul’s emancipation, tribulations, and final deliverance. Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy. The situation is that for some reason a text has become unacceptable; yet it cannot be discarded. Interpretation is a radical strategy for conserving an old text, which is thought too precious to repudiate, by revamping it. The interpreter, without actually erasing or rewriting the text, is altering it. But he can’t admit to doing this. He claims to be only making it intelligible, by disclosing its true meaning. However far the interpreters alter the text (another notorious example is the Rabbinic and Christian “spiritual” interpretations of the clearly erotic Song of Songs), they must claim to be reading off a sense that is already there.

Las Vegas is the most extreme and allegorical of American settlements, bizarre and beautiful in its venality and in its devotion to immediate gratification, a place the tone of which is set by mobsters and call girls and ladies’ room attendants with amyl nitrite poppers in their uniform pockets. Almost everyone notes that there is no “time” in Las Vegas, no night and no day and no past and no future (no Las Vegas casino, however, has taken the obliteration of the ordinary time sense quite so far as Harold’s Club in Reno, which for a while issued, at odd intervals in the day and night, mimeographed “bulletins” carrying news from the world outside); neither is there any logical sense of where one is. One is standing on a highway in the middle of a vast hostile desert looking at an eighty-foot sign which blinks ”stardust” or “caesar’s palace.” Yes, but what does that explain? This geographical implausibility reinforces the sense that what happens there has no connection with “real” life; Nevada cities like Reno and Carson are ranch towns, Western towns, places behind which there is some historical imperative. But Las Vegas seems to exist only in the eye of the beholder. All of which makes it an extraordinarily stimulating and interesting place, but an odd one in which to want to wear a candlelight satin Priscilla of Boston wedding dress with Chantilly lace insets, tapered sleeves and a detachable modified train.