Religious symbolism permeates across all literary genres. It has become an important factor in providing meaning and depth in various written texts. This study analyzes the divine symbolism in literature that spans both time and era and its timeless significance in giving substance to the art of writing. And also a guide for instructors on how to properly teach the subject to their students and learners.
Table of Content
INTRODUCTION
OBJECTIVES OF THE STUDY
REVIEW OF LITERATURE
METHODS
Research Design
Subject of the Study
Materials Analyzed
Procedure
Ethical Considerations
DISCUSSION
Religious Symbolism Traced
Animism
Nirvana
Divination
Hope
Spiritual Freedom
Parallel Depiction of Characters
Piousness
Fundamentalism
Reincarnation
Negative Theology
Pantheism
Discipleship
Redeemer
Proposed Teaching Guide
CONCLUSION
RECOMMENDATIONS
REFERENCES
APPENDICES
INTRODUCTION
Religious symbolism is the technique used by literary authors to creatively express their views about the nature of their spirituality, if any, and reflects their perspective about religion’s role in the society in their respective periods. It also serves as an indicator on the public’s general outlook about religion and its influence on the social order at the time. Whether the author agrees or not with the popular religious mindset occurring at that point, religious symbolism gives them the liberty to deliver their own take on the subject and provide an artistic means to integrate their spirituality, or their thoughts about it, in their own literary works.
Historically, religious symbolism found a more stable foothold following renewed interest in its presence in multiple literary genres. Goldammer (2010) wrote “Since the 20th century some scholars have stressed the symbolical character of religion over attempts to present religion rationally.” It was then that the significance of symbolical expression of religious facts and ideas has been verified, expanded, and deepened both by the study of independent cultures and religions and by comparative study of world denominations. Moreover, Circlot (2013) explains that symbolism is a science in itself, and increasing advancements only increase humanity’s dependence on its subsistence in a spiritual level.
For Cooper (2012) religious symbolism concerns man’s knowledge itself; it is an instrument of the intellect and the most ancient and essential mode of expression on which reality undermines other similar modes in literature. The origin of Religious symbolisms is highly debated but Reilly (2015) claimed that it all started in the early parts of the renaissance when interest in pagan myths resurfaced. Through extensive research of archeological texts, a means of defining spiritual elements through comparative analysis of characters from ancient mythological and classical literary stories and figures with contemporary religion was formed, which eventually led through the establishment of religious archetypes in literature.
Religious symbolisms come in many forms, thus it is bound to find familiarity between the thematic elements and characters of each literary work. Salamanca for example uses culturally inclined representations that often deal with Filipino folklore comparative to the Looking-Glass Tree which has similar elements but focuses more on the environment. Story of Your life and Samsa in Love both have themes about finding oneself and the nature of humanity but both use different approaches in its portrayal. Jonathan Livingston Seagull has a more profound way of relaying its spiritual message to its audience in comparison with the rest of the selection. The varying levels of religiosity for each depiction create the diversity in which the literary device persists and became a relevant aspect of the art as time goes on.
That being said, Tillich (2011) made extensive studies which further defined the qualities on what can be considered a religious symbolic icon, the religious personalities combine the general characteristics of the symbol with the peculiar characteristics it possesses as a religious symbol. These would include figurative quality, perceptibility, innate power, and social acceptability. Religious symbols are distinguished from others by the fact that they are representations of that which is unconditionally beyond the conceptual sphere; they point to the ultimate reality implied in the religious act, to what concerns individuals ultimately.
As such, Tillich also proposed several types of religious symbolisms that are commonly found in literature. The first would be the world of divine beings which, after the ’breaking’ of the myth, is the Supreme Being’ which are ultimately the representations that is inferred in the religious act. The second type has to do with characterizations of the nature and actions of God (Crosby, 2014). The third type involves natural and historical objects or characters that are drawn as holy personalities into the sphere of religious objects and thus become religious symbols. Tillich defines the type of religious symbols as the representation of the presence of the unconditioned transcendent in the empirical order. Peet (2012) associates this with man being naturally religious. The last type of Religious symbolism includes those that have levels of symbols that are characterized as ‘pointing’ symbols. It is the immensely large class of signs and actions of a special significance that contain references to religious personalities on the first levels. Characters on this version of religious symbolism present indirect reference to revered figures in contemporary sects.
All in all, the purpose of this study is to present future researchers and ELS students with particular interest on this subject, a reference to clarify some notions about religious symbolism in literary pieces and illuminate the importance of its presence. For other readers intending to use this philosophy for their reviews or studies, let the research provide the framework in which the theories can be built on. This may also serve as a guide in exploring religious symbolisms in contemporary literature and their role as an artistic technique as well as a social commentary on religion’s impact in the modern society.
More importantly, the research may serve as a guide whenever the question of religions influence on the society arises. Literatures reflective stances on historical events make it an ideal reference whenever the question becomes relevant in the society. Also this study may ostensibly raise the question of religion’s role in the development of a particular culture, as narratives often have been reflective of the events that occur in history.
OBJECTIVES OF THE STUDY
The goal of this research is to identify the religious symbolism explicitly or subtly presented in the selection, first focusing on religious themes tracing commonalities to arrive at their clusters of thoughts through which religious symbolisms would emerge and then through analytical approach, establish parallel depictions of actual symbolisms among the major characters in the selected works. Based on these, the study also aimed to propose a guide for teaching literature embedded with religious symbolisms and pave way for future research in ELS concerning the importance of religious symbolism in contemporary literature as well as its relevance in the current generation.
REVIEW OF LITERATURE
Religious Themes in Fiction
The use of religious symbolisms in literary works, especially in fiction, is not an entirely new concept in contemporary literature. Even in ancient times, the connection between the two is almost always apparent. Kirsner & Mandell (2008) wrote that although myths have to do with religion, myths are not limited to the theological. Myths explain everything from natural phenomena to the existence of human beings. Indeed humanity’s foray into the spiritual started as a response to social stimulus that required them to look into the unspoken realities that takes more than sensory perception to comprehend. Later theories would focus largely on this concept primarily on the fact that religion did play a significant role in the establishment of human society.
In fact, Stowell (2014) reiterated religious experience as one of the driving factors of the artistic revolution in human civilization. The interplay between classical and spiritual in literature does not merely revive nor diminish each other’s relevance in a given piece rather their presence invites the formation of a new aesthetic that creates harmony between the disciplines which paved way for new dimensions in interpreting sacred notions.
Later, they added that the influence of mythology on literature is profound, and the understanding of narrative fiction owes a great deal to mythology. Myth is central to the character’s behavior, sensibility, and understanding of the world in which they live. Historically much of what happens in mythological story reflects how the world works in the particular age it originated from. Interestingly religious doctrines play a similar part in creating a unique identity for the age it became associated with and became a defining characteristic of that period.
Myths are fragments of the religions of old; they are not merely tools to keep the story interesting or a way to catch the attention of the audience, but they represent the old values that humanity’s forerunners struggled to maintain and uphold. It is also worth noting that myths are often considered religious symbolism in dramatic and narrative form thus it is the precursor of what is seen on contemporary literature during that time .One cannot simply say that they are mere figments of the author’s imagination; they are the reflection of the virtues that once prevailed in a flourishing civilization during its infancy. Similarly in the modern times, religion’s pervasiveness in literature is by no means an act of vanity, but a way to preserve and illuminate certain significant portions of the human way of life. Their connection is based more on necessity as to stay relevant in an ever changing world.
Łaszkiewicz (2013) suggested that the reason why religious themes continue to be prominent in literature is because of its dependence in the world’s mythological heritage. Because they function as repositories for their respective works, writers often treat these borrowed ideas with significant amount of reverence resulting in literature being naturally assimilated in their work even if it was unintentional.
Furthermore Łaszkiewicz also claimed that the influence of religion on literature was because it inherited from mythology the sphere of the “sacrum” or the sacred. Alongside the “profanum” or the sphere of secular beliefs, which were once believed to have been used to preserve ancient belief systems. In the modern times however, the lines that defines the two spheres are gradually weakening making the distinction of religious themes much more subtle and complex, providing a more affective experience for its readers.
Additionally, Polatis (2014) reiterateed that there are a number of reasons why authors usually adopt religious themes in their stories, one which suggests that it is a way to present ideas that readers would not accept in real life. This works in a manner that allows the readers to view things in an alternative perspective allowing better understanding of what makes humanity and culture as it is. Moreover it adds a sense of seriousness and urgency in the novel especially if religion plays a major role in the plot.
Another would be that religious themes often incite the readers to question the purpose of one’s existence in the cosmic order, or for that matter the role of humanity in the universal structure. One of the reasons why religious themes are constantly being used in literature is because it provides a certain degree of scale to the plot. This would prove to be important in highlighting the issues and ideas being tackled by the piece as well as providing a sense of conviction for the readers through their own experiences in real life.
Some experts go as far as to describe the relationship of religion and literature as interdisciplinary, which connotes that both share similar characteristics in a number of aspects; this in turn gives them a sense of compatibility that is observable upon inspection. In view of this, Walton (2011) explained that literature and theology (study of religion) are terms that can carry meanings beyond their academically defined boundaries. As it would later be revealed, this particular trait in both religion and literature would become a central focus in the study of the prevailing connection between religious symbolism and the development of cultures centering on a distinct interpretation of a literary work.
They later claimed that literature and theology arenow used to refer to the place where a whole range of disciplinary concerns are drawn together to engage in depth. The theoretical complexities between each respective discipline are the driving forces that keep their connection both progressive and focused. It offers a better understanding of the principles being discussed, as well as a more dynamic perspective that does not lean on bias and prejudice.
Furthermore, Detweiler and Jasper (2000) remarked that both literature and religion lie at the very core of cultural development. Since the dawn of history, primeval human comprehension was expressed through myths and legends, chronicled through epics and poetry. Religious experience and reflection have always prompted literature, enhancing the imagination and moving beyond tentative thought. It is explained that religions, even in the ancient past, have served a purpose of securing the anxious thoughts of early men. For them, much of the functions of the universe are very much unknown and fears of what lies beyond are definitely a real source of many of their trepidations. Through religion, they have found a way to explain many of the phenomena that they simply cannot comprehend using only their bare senses. Eventually though, they required a medium to give the same reassurance to their future descendants. Hence the idea of inscribing their beliefs in scriptures became a convenient mode for transferring the lessons learned by humanity from generation to generation.
Finally, Knight and Lee (2011) explained that the literary and religious have an extremely complex interaction in modernity. Scholars suggest that literature is not just a subject for academic study, but one of the chief temples of the human spirit in which all should worship. The study of religious symbolism does not simply end with the determination of the meaning. In order to fully realize its potential as a literary device, the experience would need to be more profound for the reader and the researcher, searching for the unspoken truths within religious symbolisms would always be the defining goal of individuals who are studying the connections of these particular disciplines.
In line with that, several studies and analyses of religious themes have brought about the significance of its role in providing a deeper perspective on the subject of the literary piece. Most of the writers agree that the exclusion of religious themes or undermining its presence may result in the story generally diminishing its affective quality with the readers or losing both its social and emotional appeal.
One example of this is Madeleine L’Engles Wrinkle in Time which relies heavily on its religious themes to illuminate its subject concerning the nature of good and evil. For Burton (2018) the use of religious themes “made it both controversial and thought provoking,” it represented the writer’s own view of her faith such as the paradox of God as an unknowable entity and a fragile human being through Jesus Christ a concept that prevailed all throughout the plot of her works.
In essence, a good number of literary pieces have found a stable platform in religious themes that they can use to establish their ideas and philosophies. Literature’s dependency on religious elements is quite profound and natural as the two disciplines seem to complement one another in numerous aspects.
Sometimes it goes even further, Brown (2012) in his analysis on J.R.R. Tolkien’s The Hobbit, observed that while the religious themes cannot be observed in the piece at first glance, upon further scrutiny, the components are not only present in abundance in the numerous components of the literary work, but it is the framework of the entire premise of the story. Essentially what happened in the novel was that the story elements naturally absorbed the religious aspect in its entirety becoming the foundation in which the literature would be written. So it can be assumed that the central thought of the literary piece would have fallen apart if not for the existence of religion as its primary foundation.
An interesting thought from Watkins (2015) is that the religious themes can also be utilized in a way where the author of the piece can freely convey his or her own thoughts and understanding about the nature of religion, whether it is based on personal experience or a theoretical interpretation.
Thus in his thesis on Herman Melville’s Moby Dick, he concluded that the hidden religious theme underlying in the novel was the result of the author’s personal vindication about religion; that an incomprehensible being can also be a merciful one. And it also seems he is not alone in this notion, as he observes that it is highly probable that this belief is reflective among the masses during that period. These along with numerous spiritual portrayals also provide the readers a definitive picture of how society functioned in his time.
The purpose of their inclusion may vary from author to author, but the intention is all the same. According to Mason (2009), to define religious experience requires a degree of creativity, to be able to step into a realm that cannot be seen by ordinary men. The use of literature to express one’s faith is nothing new; it has always been the most meaningful way to pose questions about the nature of humanity and its role in the universe. On that account, literature had the most profound influence over literature even as it transitions to its contemporary incarnation.
She further emphasized the power of each narrative and how it speaks with the reader. For that these particular narratives have been chronicled and retold, and even with a few embellishments, those who took the task did their best to preserve the message that each one tried to impart upon their readers for they contain powerful ideas that explore the truths about the nature of creation and the existence of man.
Overall, many believe that the interdisciplinary relationship is an inevitable occurrence. Even in these modern times, such kind of connection would not only be apparent, but also possible and inconsequential. Contemporary literature has always found religious symbolism a source of substantial content, as such to fully comprehend the subject; this study requires the need of a literary piece that embodies this millennium old trope at its fullest. But more importantly, the research should be able to utilize the theories developed in order to fully comprehend its value in the past as well as in the contemporary age of literature where it is progressively resurfacing.
Religious Symbolism
Religious symbolism is a literary technique that refers to a creative perspective about faith. Although the origin of this concept remains in speculation, the use of symbolic imagery with religious context was already present as far as the most ancient civilization. In particular the use of animals to represent deities and other aspects of the natural world that was beyond their understanding during the infancy of modern science.
Reilly (2015) in her thesis wrote that symbolism is as old as the world itself, having been used by the ancient Egyptians in the early age of their kingly dynasties. The literary technique was also extensively used by the Jews, and during the early days of Christianity, the devout would veil their beliefs in sacred figures in text which in its way contributed extensively in the development of symbolism in contemporary literature.
Literature and religion share a mutual dependence on symbolism in part because they invoke a sense of power in their portrayals and inspire wonder among its readers and adherents as suggested by Whitehead (2015). The suggestive weight that religious symbolism possesses is sufficient enough to convince the curious masses to take absorb what is written in the text which would then serve as the framework in which a religion can be truly established in a society.
Reilly continued describing religious symbolism as being “inextricably interwoven in the fabric of social life.” She argued that the said literary device have eventually developed into a binding force which connects individuals together “ for expression, communication and the very organization of civilized society are, to some extent, dependent on various forms of symbolism.” She goes as far as to wonder if due to the nature of language as a form of symbolism itself, and can it be that the very first forms of religious symbolism may have began when “man uttered the first words to name every living thing he has or will have encountered.” Additionally, Woods (2010) describes symbols as the arbitrary origin of language and the “basis of human thought.”
Indeed no literary device has ever been as much as an enigma as religious symbolism. In the present day, religious symbolism can be found in most works whether the author intends their inclusion or not. Characters in particular are the most susceptible to interpretations in this context since they connect more intimately with the readers. Geertz (2013) also noted that religious symbolism is the summary on how humanity once viewed the world and how they behaved based on that knowledge alone. Religious symbolism is ingrained in humanity’s mind in such a way that it has become part of what creates a culture within a society that shares a common understanding of a particular sign or symbol.
The significance of religious symbolism, in Reilly’s words “is that without it thought, other than the most primitive nature, is really impossible.” She alluded to the fact that meanings expressed in religious symbolism cater more than just the human sensory receptors, it seeks to incite the thoughts and concepts which resides in humanity which cannot be expressed through conventional means. Furthermore, Ambuen (2013) claimed that all nature exist to reflect the divinity of God Himself. Thus Reilly considered religious symbolism a “vehicle of thought.”
Over the years, religious symbolism developed from simply being a meaningful portrayal of deities and natural forces to representing human qualities both the positive and negative. Belloc (2010) pointed out that during the medieval period, writers started to use the same method. Ancient civilization used in their writing often using representations of valor, grace, and dignity with wildlife that seemingly invokes them and those of greed, evil, sin with those that disgust them. Alongside the adherence to the Christian doctrine, the use of religious symbolism created the cultural phenomenon that paved way for an artistic revolution in the medieval European civilization as stated by Wright (2011).
The use of religious symbolism in literature had a major revival during the renaissance. As pagan folklore became more accessible to the masses as noted by Tilley (2011), writers began to liberally utilize this concept in their works. According to Holbrook (2018), this was a recurrent trend during that period amongst religious artistes. The device provided them with means of expression that appeals to an ambiguous perspective in the human mind. The church specifically, was heavily invested in using this concept in propagating the doctrine. As such it became a standard practice for religious scribes to implement religious symbolism to artistically represent gospels and Christian dogmatic teachings embedded within their works. Additionally religious symbolism provides a sense of eloquence and refinement which piqued the interest of the masses and motivated them to read and learn the teachings of the church.
Medieval religious symbolism is described by Reilly as means by the church to “open men’s mind to beauty in life and art as a reflection of Eternal beauty.” She also addressed how much this concept affected the attitude of its followers who not only grew stronger in their loyalty to its teaching but also grew to respect the sacred authority it represents. Furthermore, Bourlier (2013) implicated that the use of religious symbolism managed to reach out to other denominations that see them in analogous light with their own divine figures. Nevertheless, modern scholars still express interest in observing how the literary technique assisted the faithful in their spiritual endeavors.
One particular individual gained interest on this matter, St. Francis De Sales, whose writing is heavily influenced by his fascination of the natural world and symbolism techniques popularized during his time. As such, most of his works, especially his letters were of great interest to both modern and renaissance scholars as claimed by Clooney (2008). Reilly often compares his work with that of Pliny, an ancient scholar who also used symbolism in writing his works concerning the natural world and the processes necessary for its continuous existence as stated by Issitt and Main (2014).
Reilly described De Sales’ style of writing as “drawing from ancient sources a wealth of ideas for his unique symbolism and utilize it in his sacred goal of uplifting society.” Additionally, St. Francis’ writing is also defined by his ability to express analogies in a meaningful way as stated by Stopp (2011), with originality and creativity, having the capacity to study fundamental human nature, and being able to appeal to wide class of readers.
Understandably his efforts made the propagation of religious symbolism relatively popular. His works that bear his unique style are wildly renowned by both the commoners and the nobility alike in the 16th century, as observed by Filby (2015), especially the protestant Christians he is trying to reach out to. Nevertheless he was canonized with a title as the “Patron Saint of Writers” and his style is still heavily researched until today concerning religious symbolism.
This “style” that is commonly referred to is a form of synergy between written scriptures and ancient mythological technique of sacred representation. The ancient style of religious symbolism took centuries to perfect at the hands of its own devotees. In other words, they enhanced it enough that it could be considered art itself. St. Francis was aware of this and took steps to assimilate the literary device into Christian writing which resulted in a literary technique that extensively highlights the natural world as direct allusion to human behavior as revealed by Beahn (2015). Good and evil, sin and redemption had its own equivalent particularly through the use of animals and other characters one can find in nature.
Reilly commends this approach; “his feelings for nature were personal: he uses conventional images and modified them with a personal touch.” Another aspect of religious symbolism that is worth noticing is its ability to appeal to an individual’s insight in a way that does not aggressively intrude into his belief or philosophy. In fact for McDonnell (2009), it has the capacity to communicate intimately with readers and make honest approaches in establishing ties with the author of the piece.
Reilly also observed that St. Francis’ consistent reference of natural world as a direct representation of human behavior stems from the fact that he sees God in the image of nature. She wrote, “Nature for him is the vesture of the spiritual world; all nature is a mighty parable of spiritual truth, speaking in solemnity and wisdom.” The living world has always been the source of sacred imagery since many of its facets and processes are well beyond their understanding and control. For Evans (2010), only the Ultimate has the power and capacity to make them all bend to an indomitable will. Therefore religious symbolism used in this regard carries a lot more meaningful weight if used in a particular literary piece and it can carry its message much deeper into the introspection of the reader regardless what he or she believes in.
Also noteworthy about religious symbolism is that it has the capability of expressing complex thoughts with the simplest, most common representations available. This is a part of the charm that many readers take notice upon the realization of what they just read which Sampaulo (2018) attributed to the visual value of the symbolic object being functionally improved. And it is also an aspect that makes religious symbolism such a powerful device in literature as it can give depth to a medium already dependent on contextual meanings. Pocetto (2010) argued that being able to read religious symbolism requires a degree of insight into one’s own understanding of what is spiritual and religious and its association with the imagery of real life for.
Conclusively, Reilly addressed the significance of St. Francis’ work in the light of the popular utilization of religious symbolism in the modern century. She wrote, the saint represents a deep, personal feeling for the natural world manifested in all his works with the use of powerful imagery to convey his message; in fact, through his knowledge, originality, insight, imagination, and wisdom, it is all profound. St. Francis paved the way to the eventual propagation of religious symbolism at the time when humanity was at the peak of its enlightenment. With this he was not only able to appeal to fleeting hearts of worshippers and attain the admiration of both his fellow men and enemies, he also managed to create and perfect a style of writing that would serve to not only characterize contemporary and modern literature but also illuminate the significance and relevance of spirituality in any medium of text as De Sales (2018) himself exclaimed. Finally, Reilly wrote about his contributions to the movement that finally established religious symbolism as a literary vehicle, “Francis remains today what he has been for three centuries, one of the great men of literature; his writings bearing the signature mark and clear reflection of the thought, ideas, and soul of his age.”
From then on, various researches have been conducted on the subject using different methodologies in an effort to understand how it works in the artistic and social contexts. In his research, White (2016) addressed the fact that the symbolism in his subject’s work was brought about by personal vindication, alongside the pursuit of uniting various belief systems, mythological superstition, protestant and catholic Christianity, in his home country, resulting in a portrayal that embodies the “objective truth.”
Meanwhile, Drew (2012) in his goal of understanding symbolic language in art proposeed in his thesis that in order to establish an identifiable origin of meaning, one must look back to the past where minimal scholarly analyses were made on contemporary works. Furthermore, most of those said pieces in that particular period highlight a transcendent form of mind and being intermingling with conventional reality as an essential part of the semantics for religious representation.
On the other hand, famed theologian Paul Tillich’s study with religious symbolic thought brought him to formulate theories concerning their nature especially those which transcend them as explained by Myerscough (2012). Of note is that he identified the characters as one of the most defining components in literature in which religious symbolism can be observed. Theories concerning this literary vehicle are split in to two categories: first is the negative which covers imageries that reflect an aspect it is not intended to have, and the positive which is primarily concerned with the direct intent of portraying religious figures as an important aspect of the piece.
The first theories tackle the psychological and sociological aspect of symbolism. According to Tillich, the sociological theory identifies religious symbolism simply as an expression of the human psyche intended to unite society using collective interpretation. Hirschfield (2010) noteed that Marxists calls it “ideology”, the function of symbols that essentially makes it a powerful image that represents an accord of communal individuals which makes real life personalities are especially susceptible to such representation in the public’s perspective especially if they are the proponent of the ideology that they represent.
For the psychological theory, religious symbolism is identified as simply the impulses of the human mind. Tillich wrote that in this perspective, “religious symbols arise as a result of unconscious response to social stimulus, particularly those that the individual struggles to suppress. If this theory is to be believed, then it would explain the creation of myths or interpretations of dreams as a product of both societal and environmental stimulus and it also elucidates how humanity came up with the ideal “character” as a response to the lack of supposedly idyllic traits of the individuals who inscribed the piece as interpreted by Harrington, et. al.(2012).
The second set of theories concerns the morphological and cultural significance of religious symbols. In addition to being more closely related to the actual objective of Religious symbolism, Tillich pointed out that both these theories are much more focused on establishing representations that make up the foundation of a specific human belief system; “the soul of a culture.” Additionally Loxton (2014) revealed that religious symbolism has always been in the forefront of individual cultural development as a means of congregating likeminded people who share similar beliefs and interpretation of ideas and their individual proponents who more likely embody the representation they formulated.
The central point of the morphological theory is the style in which religious symbolism was used in the piece. If this theory is to be believed according to Tillich, “all aspects or forms of cultural life become symbols.” The theory elaborates on the fact that there is no true objective method in identifying religious symbolism and the form plays an important role in creating meaning in a particular symbolic character. To elaborate, Chopra (2014) suggested that a personality created by civilization is an intrinsic portrayal of an individual belief that managed to collectivize a society that all partake in a singular ideology.
The cultural theory of religious symbolism on the other hand, is the direct culmination of religious symbolism if the morphological theory can be proven true. It implies that as individuals with varying viewpoints concerning the figures used as the representation for a spiritual concept, religious symbolism in itself is a uniting force that enables the formation of the norms that would become the framework of human culture. Or as Sirvent (2014) would suggestively imply, that qualities of symbolic characters that participate in the realities that it represents essentially gives life to the belief in question.
Subjective-Objective theories concerning religious symbolism eventually brought those that question if the nature of the literary device can be definitely observed. In that context, Panikkar (2013) claimed that a symbol is a symbol as long as there are individuals who look and consider at it as such. The critical-idealistic theory which proposes that myths, the primeval origin of religious symbolism, is actually created with a distinct purpose, in a sense symbolic characters cannot be interpreted in more ways than what the author intended.
To elaborate, the idealistic theory points out that the mythological stories are not often as vague with their meanings when observed through historical perspective since most of the actions of the symbolic characters still follow the values accepted and propagated during that time. The limitations present within these works suggest that the character traits used represent the ancient values existing at that exact time period no more, no less. For this reason, first degree spiritual representation is considered the “purest” form of symbolism by as identified byNovotny (2012).
Critical theory on the other hand, suggests that religious symbolism and mythology are interfused concepts that gradually became separate disciplines as implied by the study of Siebert, et. al.(2013). This theory is supported by the fact that there are characters in both mythology and religion that shares similar qualities. Likewise, religion and mythology along literature always shared an interdisciplinary relationship, and the theory implies that by using critical analysis, one can find the “true” meaning of the subject presented outside the assumption that the character in question can signify more than just a single connotation in its portrayal.
Yet in a more modern interpretation, Kudrlová (2014) in her thesis paper theorizes that there are three elements that help distinguish religious symbolism from other types of portrayals, these are limited publicity, meaningfulness amongst a group of believers, and its significance for the particular group. In the end she concluded that, by observing these components, the symbolic portrayal identified was extensive enough to warrant another research, illuminating the comprehensiveness of the literary technique as well as its prominent role in prominent content in a literary piece.
Overall, Tillich suggested that religious symbolism played a role in establishing belief system that paved way to human culture that is unique in a particular society. Even though it is still speculated whether the interpretation given to each character portrayal can be perceived objectively or subjectively, it has managed to consolidate individuals who agree on its representative meaning. His theories imply a possible explanation for religious symbolism’s relevance in the development of characterization in literary personalities as well as its origin and its affect on culture and civilization are the basis for modern arguments on its use in the modern context.
While the origin of religious symbolism remains under speculation, its nature and how it operates in literary mediums is an extensively studied subject. As the use of religious symbolism grows widespread, the understanding of its nature became a highlight among researchers.
One in particular, Goldammer wrote lengthily on the subject of religious symbolism. He defined it as the “complex, artistic forms that are used to convey representations of spiritual ideas and events.” According to him and Bayley (2011), religious symbolism was the result of a scholarly attempt of 20th century intellectuals to find a rational representation of the various faiths that exist within the period. Factors that were taken into consideration included the psychological and mythological expressions that characterize religious symbolism in primeval belief systems.
The findings of this study eventually assisted denominations in rediscovering and reassessing their approach to liturgical text resulting in a more definite interpretation of a particular idea inscribed within as argued by Verene (2011) while also noting its significance in comprehending the nature of reality itself. Also, Langer (2014) claieds that Christian theology in particular benefited greatly with this especially at a time of great confusion among its adherents uniting them with a better understanding on how faith works under the dogma.
In the mean time, Cregan (2012) in his thesis noted that interpretation of religious symbolism may vary from time to time depending on which context the portrayal is integrated into. One example given is the symbolism of water which is both having beneficial and destructive meanings in biblical accounts. Yet overall, it does not signify the entirety of its significance as a sacred representation, for him, in God, it would always take more to accurately depict His existence.
Goldammer also noted how the progress of the study is affecting the viewpoint of cultures largely dependent on religious symbolism as a means to justify their teachings. This eventually developed into a systematic framework that constitutes “certain ordered and determined relationship to form, content, and intention of presentation, believed to be the most significant means of expressing religious ideas.” The process suggested also further solidified the relationship between the believers and the authorities and teachings of the particular denomination and different interpretations as stated by Huchingson (2010).
The term “symbol” was originally coined from the word Greek word “symbolon” which according to Hirsch (2017) means token or means of identification. In ancient times the term denoted something that could help an individual communicate “a whole, using its parts” or as Geiser (2013) claimed, putting the broken parts together. The part in question assures the presence of the entirety, and in order to comprehend their relationship the parties would need to familiarize themselves with the process that would help them identify its relative meaning that it partly shares with the main concept it belongs with.
Goldammer suggested the use of association in order to better understand how the process of identifying religious symbolism works. The symbol relies on the individual seeing the larger context; therefore he surmised that symbolism is based around the principle of complementation. As a fundamental principle of theology Segal and Smart (2012) also suggested that it would entail that the person involved should be conscious enough to fully express and comprehend the ideas being dealt with. It is, in his words an “esoteric and exoteric function; a veiling and revealing method.” And this would also need active participation between members discussing the possible meaning of the figures involved.
Goldammer later explained the concepts that govern the tenets of religious symbolism. For one, religious symbolism should be able to reveal ideas that concerns humanity’s relationship with the divine and to the society and its various trappings. This goes as far as treading the realms of science, which also relies on its own form of symbolism and also has its basis in religious symbolism, to obtain relevant information on its field of specialty. Scholars such as Wach and Kitagawa (2015) even proposed the use of intellectual and scientific methods in its study.
Mediums of religious symbolisms have diverse modes in expressing their meaning. They can be found in most forms of art but literature is probably the most dependent on them. Penner (2016) observed that through analogies, metaphors, parables, signs, emblems, artificial symbols with added verbal meanings and traits distinguishable from characters form the ensemble of formal, historical, literary, and artificial category of symbolism.
To elaborate how significant the approach is in determining religious symbolism, Goldammer explained the most fundamental approach in defining its meaning. He wrote, “If one looks for a definable common denominator for various types of symbol, the term ‘meaning sign’ best describes both the reveal and concealment of the religious experience.” The point of using symbolism is to express an idea while using a vehicle of concealment that would stimulate the deeper emotions and insight of the reader. Kaplan and Werner (2014) call it the “unique function” of religious symbolism holistically. It would also require that the individual involved be made aware that the symbolism exists in the material in question. An experienced writer who knows his audience would likely know the style that would be necessary to elicit the intended meaning of the symbolisms he used in his or her writing.
Religious symbolism also has functions that share similar characteristics with epistemology and ontology respectively, the former in terms of the possible objective origin or nature of religious symbolism and the latter in terms of its metaphysical interpretation. Whitehead (2015) implored that the technique is based around the concept of sense-perception. Therefore the concept functions through a system that both masks and discloses the meaning of supposedly symbolic figures. This process of obstructing comprehension is a key factor in religious interpretation thus accomplishing its objective in providing the reader the necessary spiritual experience.
The ultimate goal of religious symbolism, for Goldammer, is to establish a link between symbolisms being used with that of transcendent thought. As per the meaning of symbolon, the literary device intends to provide an implication that there exist divine concepts that represents the entirety of all that came before it and all that will be conceived thereafter. Additionally, Hageback (2017) insists that every reader has the capacity within them to interpret the symbolism in literature through universal agreement through the realization that humanity shares more insight with one another than previously thought.
The structure of religious symbolism lies within the boundaries of the conscious and unconscious thought, in the addition of human imagination In their book, Appleton and Bridges (2011) discussed that symbols visually represent the truth in that which they represent. Here, Goldammer acknowledge the theory of Tillich in terms of the psychological nature of religious symbolism if taken in a subjective sense. If seen more neutrally, the meaning of certain symbols are expected to elicit objective interpretation about the transcendent experience it intends to impart upon the readers. He wrote, “There is a correlation between sense of perception, imagination, and the work of the intellect when it comes to religious symbolism.”
Finally, religious symbolism serves as a key aspect in the foundation and progression of many religious bodies. Religious experience, understanding, and logic are all necessary factors to accomplish this but each of them contributes differently depending on the category it belongs or is implemented into. Regardless, the interpreted religious symbol would always be of historic significance to the institution it has founded, more so in its continuing growth in the near future for it deals with the nature of God as Sell (2012) states in his book.
“The symbol is understood to have referential character. It refers to the reality of the sacred and the holy that is somewhat and somehow present.” Again referring to the concept governing the “symbolon”, religious symbolism represents a conscious and unconscious process to communicate with the origin of all concepts through the interpretation of its components. Its nature that allows the readers to reflect and meditate on one’s own perception and insight on the spiritual and allows the readers to conceive personal and collective experiences in light of how they understand the meaning of the symbol.
As theologian Paul Tillich made considerable study on the subject, he particularly stressed the significance of religious symbolism as a means of expression in literature of every genre or medium in his book Dynamics of Faith (2009), “Man’s ultimate concern must be expressed symbolically, because symbolic language alone is able to express the ultimate.”
On reviewing his works Thiselton (2013) remarked, that upon observing Tillich’s analogies of religious symbolism, “he prefers to speak religious language through symbols rather than through conventional discourse.” The former suggests that this is because in essence there is no real way to describe “God” that utilizes human comprehension; instead the device to be used should go beyond how the mind operates. Religious symbolism is supposedly the solution for this dilemma as it suggests an interpretation far beyond the sphere of objective and subjective discourse.
Many of Tillich’s theories originate from his observation of Carl Jung’s works especially that of the unconscious collective which interpret imageries and attach meanings to objects as an act of response to conceive belief and create a system that the conscious and conscious thoughts can interact in unison as Dourley (2008) can attest. Thus, Tillich suggested that only in religious symbolism can religion express itself directly.
Conventional symbolism in itself is differentiated from common signs as being able to participate in what it represents. The same goes for religious symbolism only in that it touches upon a deeper level of perspective within its audience. Murray (2013) surmised that one of the main functions of religious symbolism is to “open up realities in which the hidden and unspoken, those that could not be grasped in any manner, could be explicitly observed.”
Tillich also commented on the power of religious symbolism. In a way when in the mind of the readers the meaning of symbolisms gets real enough that any other function suggested would be instantly rejected. According to Chan & Ng (2017) this is the testament to level of influence religious symbolism is capable on the social structure. He wrote, “Symbols can thus be terrifying in their power; they can create and destroy; integrate life or disrupt it.”
Tillich was one of the first scholars who managed to distinctly identify the characteristics that would identify a “symbol” as religious. He explained, “ Religious symbols represent the transcendent but do not make the transcendent immanent.” For him, religiosity could be found in imagery that point out the existence of a higher thought, a being or idea that simply cannot be explained through the limitations of the human mind.
Other researchers made use of his studies to formulate their own standpoint in the subject. For Rasmussen (2012), religious symbolism may contain multiple facets as opposed to its conventional subjects of figurative representations that religious symbolism can be described as opaque as opposed to the clear and transparent conventional discourse. This makes sense since symbolism allows multivalent interpretation. Religious symbolisms are by nature rich in meaning and can even combine several meanings in a single representation. This implies the correlation between literature and religion especially if literature is inclusively adding religious concepts in its domain.
Chongloi (2008) came up with this conclusion in his book, that religion and symbolism is so closely related to one another that it is to distinguish one from the other is almost impossible. It can be asserted that a study of any religion is equivalent of a study in religious symbolism taken under intensive scrutiny. Study of religious tradition is magnified greatly if the symbolism of the denomination is taken into account. Yet what those representations are should be determined decisively from those that are not. Religious symbolism has always been known to refer to conventional reality and the supernatural values that it can possibly be associated with. Basically upon further study religious symbols have unique characteristics in terms of structure, nature and functions.
Neville (2012) gave his take on the subject that the principal hypothesis about the differentiation of religious symbols from others is that they are symbols of contrasting relationship with the finite and infinite perceptions. A finite/infinite contrast is some finite thing which produces a reality that would contain indicators pointing a boundary line or world founding aspect in culture, community or person bearing the symbolism.
Symbolism primarily exists as form of communication based around visual cues that facilitates a form of association with the idea being represented. In other words, symbols have the capacity to induce humanity’s ability to correlate the characteristics of a number certain subjects irrelevant of similarities or differences between each. Religious symbolism on the other hand, invokes a different sentiment, one bound in humanities belief in a higher power that guides and maintains the order that are beyond their control. Being able to invoke such sensation, mediums like literature are able to transcend their meanings and deliver a bigger weight on the message being given attention on the piece
Reagan (2016) explored this notion further, and even proposed a framework to study this concept in text by pointing out that religious symbolism works through a concept of a “center.” It works by allowing an intersection between two points between religion and literature. This he says, would allow stability between the religious and non-religious as well as provide a means of detecting the central points of religious symbolism in varying time periods.
For Akala (2014), this matter requires serious observation in the context of literature in which the transcendent is recognized as a function of the symbol. This is primarily because the religious symbol is not explicit on text, rather it transcends the text. Religious symbols use of subtlety evokes the mind to comprehend the piece in a deeper perspective which invokes a sense of awe in the part of the reader.
But another theologian, Mircea Eliade, made a number of studies concerning religious symbolism in another respect. To him, “sacred objects” are representations of a conscious thought of humanity that are apprehended as facts. The goal of his research is to seek out the spiritual meanings in empirical ideas and concepts. Thus he suggested the use of cognitive theory as a means of determining the meaning and nature in what he deemed as “intentional objects.”
The term “intentional object” came about to describe ideas that “exist from the intention of human experience,” that is an idea or thought that becomes real in the sense that its presence as a concept is indisputable whether it does exist on a conventional sense or not. In other words its nature as a reference to, already justifies its presence as a separate entity or at least in its own place of reference as claimed by Babuts (2014). Similarly the way religious symbolism uses its properties to point out what can be described as transcendent in the representation used imply the existence of unspoken consciousness guiding the reader in understanding its meanings and connotations.
Rennie (2011) made extensive study of Eliade’s works in his thesis. He initially observed that his concepts are more focused on the determination of religious symbolism in a variety of sacred traditions. The comparative differences between the real and the sacred is challenged in his notion that, what is “real” could only be identifiable by human apprehension. The structure of consciousness that brought forth religious symbolism is based around the belief that reality is associated with human experience that could be considered transcendent.
The manifestation of the sacred according to Eliade, is when an object transforms into something else, yet continues to remain itself, for it retains most qualities that it had prior to its portrayal as another. A character for example, remains as his or herself, nothing special or distinguishable from the rest of the cast in the piece. But for those whom a character reveals as sacred, it becomes akin to some kind of supernatural entity as revealed by Allen (2013). He continued that only those who have religious background or awareness of “miracles” are mostly capable of recognizing events occurring within such context. For others that do not share similar beliefs, it is all simply commonplace event and uninteresting subject of discussion. For Eliade, the priority of identifying and defining religious symbolism is much stronger in individuals who possess the experience and knowledge in subject of the spiritual and sacred, a notion also shared by Arnold (2018). In that case, religious symbolism is characteristically more evident with those that adhere to religious denominations.
Intentional objects are defined, in Eliade’s words by being able to manifest reality, being, meaning, and truth in individuals who can comprehend them. Even more so if they also have sentiments concerning the subject of faith-although having basic information about them- should be sufficient enough; even the most basic information about the presence of religious meaning is enough for one to distinctly identify religious symbolism in a body of work which was also the argument of McCoy (2015). Progressing through such endeavor will enable one to find the literary device on numerous aspects from multiple genres of literature.
The search for religious symbolism from materials that apparently bereft of the concept is one of the major challenges for Eliade. Dantes (2010) observed this on his intention of revealing the perceptions of sacred meaning from the irreligious. Eliade described this perception as the source of reality and justified its notion as being subjective. He wrote, “every rite, every myth, every belief or divine figure reflects the experience of the sacred, indicating notions of truth.” It is even theorized that human experience with the conventional meaning of reality that coerced them to look towards the transcendent and divine.
Thus, Eliade made it clear that reality alone, in the conventional sense is not innately meaningful enough for many to warrant special attention. Tanabe (2013) agreed with this as it would require various disciplines to see its holistic meaning. This particular detail is noted by numerous denominations themselves, that the common sensory response of humans is not sufficient enough to identify the greater power at work. For them, only learning how to properly apprehend the meaning that is concealed within the illusionary façade is only way to understand the truth that governs all things.
In a literary standpoint, this is also relatively true. Literature is a work of art, dependent on the meanings that each of its subjects signifies in addition to the style they are presented with. For Stewart (2017), religious symbolism serves as a veil that encourages the reader to look deeper and see beyond the meaning of each word and ascertain that there is more to what is shown on its initial impression. In a way it acts similarly to the “reality that lacks inherent meaning,” a work is just a work without the proper insight that can break through the concealed perceptive reality that Eliade mentioned in his writings.
Transcending the human concept of truth should be the focus of religious symbolism according to Gordon (2015) in her analysis of Eliade’s works. He is a firm believer in the freedom of will, and that literature should go beyond all forms of thoughts and concepts. In essence he adheres to the Christian concept of theosis, the state of “absolute freedom” from all forms of human limitations especially of the mind. With this revelation, Eliade sought to find religious symbolism in the form of stylistic literature, especially those involving literary appreciation and narrative creativity.
Eliade himself is an example of one who has developed a powerful perspective on religion through having an intimate relationship with his faith. He is a Romanian Orthodox Christian whose teaching greatly emphasizes discovering the religious significance in commonplace articles that one may encounter. Although perception is still important in deriving that meaning and making it “real” and any less than that and the definition of the sacred would be lost or misinterpreted or in his words, “unreal, illusory, and irreligious.”
Eliade’s own epiphany brought upon a realization that religious symbolism found in empirical experience have considerable influence on individual belief especially if the apprehension came about due to the person understanding fully what is needed to be found. At that point when the perception itself is realized, the medium into which the meaning is concealed is elevated to a hierophany. Effective and functioning religious symbols are all hierophanies as stated by Frank (2010), or in other words they reveal upon the readers what is sacred and divine in the particular literary piece.
Symbolism allows the individual to become conscious of alternate forms of the real. That is the nature of religious symbolism as a hierophany and defines the epiphany it delivers to the individual. Rennie commented, “Religious symbolism discloses a perspective from which things appear different.” As Durnham (2012) observed, it is not just that the conventional reality is successively overshadowed; it is that the transcendent reality is capable of illuminating what is already there, but also it manages to derive even more from what is fundamentally known about them. Eliade states, “This coming together of the sacred and irreligious produces a breakthrough of the various levels of existence. The sacred may be seen under any sort of form, even alien.”
While it is possible to determine religious symbolism from immediate reality as Eliade and Rennie proposed, the interpretation will not always be uniform or universal. There is no real manner that religious symbolism can only be defined in singular concept or viewpoint. The most accurate manner in which a religious symbol’s meaning can be revealed is through a combination of two effects; the personal experience and the religious background as revealed by Johnson (2013). They serve as apperception, or perception that came about from past experiences and are understood differently by people with diverse standpoint, so that the interpretation itself is as diversified, but communally accepted if the society can find an impasse that the collective can agree on.
Eliade defined a religious symbol as “a replica of objective reality.” According to him it serves as a method that can reveal alternate levels of reality that humanity is unaware of.”It is such apprehension that the World is made, pertaining to the “World” that is built upon by human culture, Eliade refered to civilization that serves as the foundation of humanity’s progress, Ford (2014)also noted that it came about because of religious symbols united individuals through the collective thought stimulated by shared perception and beliefs. “The World ‘speaks’ through the medium of the symbol and its word is directly understood.”
He also emphasized this need for symbolism “as arising from the fact that the referent of religious expression is experienced as something transcendent, the sacred referent is never unmediated. In the paradoxical relationship and dialectical movement between the sacred and profane, the transcendent, supernatural ‘other’ must be made humanly accessible and meaningful for there to be mythic and religious experience.”
Overall, Eliade suggested that religious symbolism always needs a central motif that would allow the readers to comprehend the thought behind its inclusion in the piece. The center would also give the readers a much deeper insight about the author’s own opinion about faith, in the society or his own as well as provide a background on the reason for his treatment of his religious representations.
Still, one of the major concerns raised was whether a certain element of literature can be considered religious symbolism just on the merit of suggestion, that is, if a particular character possesses the qualities required can already be considered the subject of said symbolic object in question. It also worth noting that some religious personalities found in certain literary pieces may have been unintentionally corresponding to the religious even if the author does not intend to do so.
For this, Marshall (2011) recommended the following interpretation of religious symbolism since it commonly represents two things; the symbol itself and the object symbolized. This is also known as the “community of subjective form.” From these theories regarding religious symbolism would be formed distinguished between the symbolic and non symbolic, the former contained “where the intuitive elements of language function for the non-intuitive or conceptual.”
Therefore it is theorized that whether the religious symbolic object in question is included in the piece was of the conscious intent of the author, if the reasoning behind the inclusion was intuitive, then there is a certain degree of possibility that it may have been spiritually motivated if the context of the plot is suggestive of religious content. Otherwise it would simply be another shared characteristic of the interdisciplinary relationship between literature and religion.
As Knight (2016) explained that religion and literature which share similar characteristics and principles in such a way that one may find difficulty in differentiating between the two especially considering their interdisciplinary qualities. The need for symbolism is both inherent for literature and religion since it is capable of invoking strong sensations that allow the mind to view certain realities with deeper comprehension. This provides significant substance to both subjects allowing them to connect with society efficiently and transmit their messages more convincingly on a wider scale.
In a more poetic sense, Barta, et. al.(2013) defined the imagery that religious symbolism provides for its respective literary medium where symbols represent an image that imitates the order of the universe, and order that in his words reflect the cycle of the soul and matter, always in motion in a dynamic representation of primeval process that takes meaning in an endless act of unity and revelation. Indeed religious symbolism is a complex literary vehicle that threads through a recurring process grounded in unity of thought and the reality of perception. It is a very ancient way of looking into oneself which in turn reflects how humanity sees the world.
Religious Symbolism from Characters in Fiction
Characters are often the most symbolic component of fictional literature because they connect with the readers more efficiently than the other aspects of the story. Hence, if religious symbolism is implemented it is almost always expected to be found in character representation. McGrath (2013) who made a short analysis on the religious nature of C.S. Lewis’ Chronicles of Narnia noted that its symbolism expresses “our deepest intuition points us to the true meaning of things; that there is indeed something beautiful and wonderful at the heart of the universe.” He identified the character named Aslan as the most important example of religious symbolism in the piece being Lewis’ own interpretation of the crucifixion of Christ. And yet according to the article, its objective is to enable readers to discover the truth themselves and use their own perceptions in interpreting what the character represents.
Similarly, Lei (2015) made a scholarly analysis about the spiritual symbolism of characters in Nathaniel Hawthorne’s work, The Scarlet Letter, and wrote that “the symbolisms of his works exceed the narrow individual world and helps connect the subjective with the objective as well as reinforce and typify his individual experiences and thoughts.” The symbolic imagery of the characters, according to the study, puts great attention to an individual’s inner emotions and personal history. Additionally, it succeeds in reconciling concepts both concrete and abstract in a way that it utilizes creative concrete objects to reveal abstract ideas.
On another study, Bercken (2011) who made a similar analysis on religious symbolic characters on the works of Fyodor Dostoevsky’s have this say “the first paradox is precisely the combination of faith and fiction. Used in fictional context, faith becomes part of literary fantasy.” Dostoevsky’s style, he observed, uses a combination of contradiction and negation instead of direct postulation. This allowed him to imbibe religious qualities to characters with which readers are unable to identify.
Morris (2012) on his thesis about the religiosity of certain characters on J.R.R. Tolkien’s Lord of the Rings series concluded that while gospels provide the readers with a vivid portrayal of the Christ, the characters in the novel have either character traits or participate in scenarios that reflect the imageries representative of that savior figure. As well being a primary characteristic of the general theme of the literary piece. Either way, he claims that “by noting the powerful symbolism in the text, one can be able to see how the gospel and theology are reflected in his work.”
Overall, the following examples illustrated the still prevailing existence of religious symbolism on characters in fiction and its perennial strength to draw in readers that identify with the meanings that they signify. It is the testament on humanity’s nature to use his creative knowledge to create figures that build a connection between the conceptual ideas of the readers and the emphatic response of the readers. Still it is essential to understand how this process works to further enlighten the reason for its continuous usage in fiction.
Research has been repeatedly conducted in this particular subject. In her research, Regelin (2015) in her thesis identified the characters in her subject piece as the driving force behind the preservation of its prominent message. They represent the dynamics that change the course of the story which leads up to its defining climax. In the end, she also mentioned that the characters themselves facilitate in making her subject’s theme resonate with the modern audience and may even reflect some of the viewpoints that develop within the current generation.
Alternatively some research aim for specific details on the portrayals like the research paper of Johnston (2013) which uses descriptive analysis to determine religious symbolisms and how character roles assist in establishing the structure of the story. Conclusively, she claimed that it drew a possible religious side from her subject, and an alternate way of perception that reveals more about how humanity sees the world which would help her understand it better.
On another note, Šojdelová (2014) utilized religious symbolism in her study not only to establish character roles in the novel, but to also specify the different phases that constitute the character progression, which eventually resulted in the main character being given its own sacred imagery. Overall she mentioned that the “web of symbolism” actually gave more content to the plot and allowed the readers to personally empathize with his situation in the story due to the emotional power of its spiritual representations.
Meanwhile Rahman (2014) in her research used descriptive and analytic methods utilizing a variety of theories regarding symbolism and its religious aspects. It also serves to highlight the literary device’s importance and contribution to the prominence of the research author and their respective works. Overall, she exclaimed that in the absence of symbolic imagery, her subject’s works would have been empty and meaningless, as it represents the “soul” that keeps the piece relevant and its message resonant to the readers.
One of the earliest theories regarding divine representations in literature is Carl Jung who suggested that literary and religious figures are the product of mankind’s collective consciousness which seeks to understand the natural world and the events that occur within that are beyond their control. He later named these religious representations archetypes. Boyle and Dempsey (2015) quoted Jung in their book; “all the most influential ideas in history can be traced back to the archetypes.” Historically the function of archetypes is to create transcendent identities for characters in literature. This would, in theory create a personality that could embody a perspective reality used to influence social beliefs and culture and undermine the traditional meanings that were established long before the work was written.
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- Francis Alendry Villena (Autor), 2018, Religious Symbolisms as Reflected in Fiction, Múnich, GRIN Verlag, https://www.grin.com/document/1272926
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