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Literary Devices
Definition of Allegory
An allegory is a work that conveys a hidden meaning—usually moral, spiritual, or political—through the use of symbolic characters and events. The story of "The Tortoise and The Hare" is... read full definition
An allegory is a work that conveys a hidden meaning—usually moral, spiritual, or political—through the use of symbolic characters and events. The story of "The... read full definition
An allegory is a work that conveys a hidden meaning—usually moral, spiritual, or political—through the use of symbolic characters and... read full definition
To the Reader
Explanation and Analysis—Fantasy and Imagination:
Throughout the narrative, the Blazing World itself acts as an allegory: one interpretation is that it is an allegory for the power and value of fantasy and imagination. A prominent theme in the story, Cavendish demonstrates that fantasy and utopian thinking can give people total freedom over their own imagined world and lead to philosophical and intellectual insights. The Blazing World is an act in the exercise of imagination; an act that conveys Cavendish’s arguments and desires, such as providing a space to empower women to become rulers. This allegorical reading is evident from Cavendish’s introductory letter, where she outlines the difference between “reason” and “fancy” and argues that fancy (fiction and imagination) has a productive purpose:
I mean […] by fancy a voluntary creation or production of the mind, both being effects, or rather actions of the rational parts of matter [which] requires sometimes the help of fancy, to recreate the mind [...].
Here, Cavendish establishes that fancy is “a voluntary creation [...] of the mind” and that it is valuable because it can help with reasoning by recreating the mind. The Blazing World is Cavendish’s recreation of her philosophical reasoning by formulating a new world. Fiction can create a world for an individual to govern that operates however that person wants—and this, in turn, that can lead to real philosophical thinking.
This allegory is made more explicit when the Empress and Duchess converse with the immaterial spirits about the value of creating one’s own world in Part 1:
Yes, answered the spirits; for every human creature can create an immaterial world fully inhabited by immaterial creatures [...] all this within the compass of the head or scull; nay, not only so, but he may create a world of what fashion and government he will [...] by creating a world within yourself, you may enjoy all both in whole and in parts, without control or opposition, and may make what world you please, and alter it when you please, and enjoy as much pleasure and delight as a world can afford you
This conversation with the spirits clearly outlines Cavendish’s argument for the value of fiction. The spirits argue that the Duchess and Empress should create their own imagined worlds to allow themselves to govern these worlds and imagine them in whatever way they wish. Essentially, they are arguing for the value of imagination and fictional worlds, which is exactly what Cavendish does by writing The Blazing World. This statement by the spirits reflects the meta nature of the book and directly comments on the story itself.
The Blazing World thus acts as an allegory for the power of imagination. Just as the spirits advocate for the power of imagined worlds, Cavendish demonstrates the utility of creating fictional worlds in the act of creating the Blazing World.
Related Themes:
The Description of a New World, Called the Blazing World
Explanation and Analysis—Fantasy and Imagination:
Throughout the narrative, the Blazing World itself acts as an allegory: one interpretation is that it is an allegory for the power and value of fantasy and imagination. A prominent theme in the story, Cavendish demonstrates that fantasy and utopian thinking can give people total freedom over their own imagined world and lead to philosophical and intellectual insights. The Blazing World is an act in the exercise of imagination; an act that conveys Cavendish’s arguments and desires, such as providing a space to empower women to become rulers. This allegorical reading is evident from Cavendish’s introductory letter, where she outlines the difference between “reason” and “fancy” and argues that fancy (fiction and imagination) has a productive purpose:
I mean […] by fancy a voluntary creation or production of the mind, both being effects, or rather actions of the rational parts of matter [which] requires sometimes the help of fancy, to recreate the mind [...].
Here, Cavendish establishes that fancy is “a voluntary creation [...] of the mind” and that it is valuable because it can help with reasoning by recreating the mind. The Blazing World is Cavendish’s recreation of her philosophical reasoning by formulating a new world. Fiction can create a world for an individual to govern that operates however that person wants—and this, in turn, that can lead to real philosophical thinking.
This allegory is made more explicit when the Empress and Duchess converse with the immaterial spirits about the value of creating one’s own world in Part 1:
Yes, answered the spirits; for every human creature can create an immaterial world fully inhabited by immaterial creatures [...] all this within the compass of the head or scull; nay, not only so, but he may create a world of what fashion and government he will [...] by creating a world within yourself, you may enjoy all both in whole and in parts, without control or opposition, and may make what world you please, and alter it when you please, and enjoy as much pleasure and delight as a world can afford you
This conversation with the spirits clearly outlines Cavendish’s argument for the value of fiction. The spirits argue that the Duchess and Empress should create their own imagined worlds to allow themselves to govern these worlds and imagine them in whatever way they wish. Essentially, they are arguing for the value of imagination and fictional worlds, which is exactly what Cavendish does by writing The Blazing World. This statement by the spirits reflects the meta nature of the book and directly comments on the story itself.
The Blazing World thus acts as an allegory for the power of imagination. Just as the spirits advocate for the power of imagined worlds, Cavendish demonstrates the utility of creating fictional worlds in the act of creating the Blazing World.
Related Themes:
Explanation and Analysis—Utopia and Paradise:
Throughout the story, the Blazing World acts as an allegory with multiple potential interpretations. One interpretation is that the Blazing World is an allegory for heaven and Cavendish’s ideal world. Given the nature of a utopia, the Blazing World is already an idealized world, but it is made further idealized when described as a religious paradise, pointing to a religious allegory. This is most evident when Cavendish writes that the name of the Blazing World’s capital is “Paradise”:
they went towards Paradise, which was the seat of the Emperor; and coming in sight of it, rejoiced very much; the Lady at first could perceive nothing but high rocks, which seemed to touch the skies.
This directly equates the Blazing World with the biblical ideal of “Paradise” as representing heaven. The city is surrounded by “high rocks” that “touch the skies,” as if touching heaven and divinity. This then could imply that the Emperor and Empress are the God-figures of the Blazing World. The choice to name this imperial center “Paradise” is a clear biblical reference.
Furthermore, evidence of the Blazing World as an allegory for heaven is made explicit when the Empress asks the immaterial spirits questions about religion and the nature of being in the Blazing World. The Empress asks where Paradise is and what happened to Adam and Eve. They respond that:
Paradise was not in the world she came from, but in that world she lived in at present, and that it was the very same place where she kept her court, and where her palace stood, in the midst of the imperial city.
According to this description from the immaterial spirits, the Blazing World is literally heaven. This allegory has important implications for Cavendish’s broader arguments. It reflects her religious beliefs and support of absolute, divine monarchy, for example: the seat of the Blazing World’s absolute monarchy is “Paradise,” which is heaven. While this allegory is not the only way to interpret the Blazing World, it does leave the possibility open to consider the Blazing World as heaven, and the Emperor as a God figure.
Related Themes:
