Allegory

Watson's Biblical & Theological Dictionary

a figure in rhetoric, whereby we make use of terms which, in their proper signification, mean something else than what they are brought to denote; or it is a figure whereby we say one thing, expecting it shall be understood of another, to which it alludes; or which, under the literal sense of the words, conceals a foreign or distant meaning. An allegory is, properly, a continued metaphor, or a series of several metaphors in one or more sentences. Such is that beautiful allegory in Horace, lib. i, Od. 14.

"O navis, referent in mare te novi Fluctus," &c.

[O ship, shall new billows drive thee again to sea, &c.]

Where the ship is usually held to stand for the republic; waves, for civil war; port, for peace and concord; oars, for soldiers; and mariners for magistrates. Thus, also, in Prior's Henry and Emma, Emma describes her constancy to Henry in the following allegorical manner:—

"Did I but purpose to embark with thee

On the smooth surface of a summer's sea, While gentle zephyrs play with prosperous gales,

And fortune's favour fills the swelling sails; But would forsake the ship, and make the shore, When the winds whistle, and the tempests roar?"

Cicero, likewise, speaking of himself, in Pison, c. 9, tom. 6. p. 187, uses this allegorical language: "Nor was I so timorous, that, after I had steered the ship of the state through the greatest storms and waves, and brought her safe into port, I should fear the cloud of your forehead, or your colleague's pestilential breath. I saw other winds, I perceived other storms, I did not withdraw from other impending tempests; but I exposed myself singly to them for the common safety." Here the state is compared to a ship, and all the things said of it under that image, are expressed in metaphors made use of to denote the dangers with which it had been threatened. We have also a very fine example of allegory in Psalms 80; in which the people of Israel are represented under the image of a vine, and the figure is supported throughout with great correctness and beauty. Whereas, if, instead of describing the vine as wasted by the boar from the wood, and devoured by the wild beasts of the field, the Psalmist had said, it was afflicted by Heathens, or overcome by enemies, which is the real meaning, the figurative and the literal meaning would have been blended, and the allegory ruined. The learned bishop Lowth, De Sacra Poesi Hebraeorum, Prael. 10, 11, has specified three forms of allegory that occur in sacred poetry. The first is that which rhetoricians call a continued metaphor. When several metaphors succeed each other, they alter the form of the composition; and this succession has, very properly, in reference to the etymology of the word, been denominated by the Greeks αλληγορια , an allegory; although Aristotle, instead of considering it as a new species of figure, has referred it to the class of metaphors. The principle of allegory in this sense of the term, and of the simple metaphor, is the same; nor is it an easy matter to restrict each to its proper limit, and to mark the precise termination of the one, and the commencement of the other. This eminently judicious critic observes, that when the Hebrew poets use the congenial figures of metaphor, allegory, and comparison, particularly in the prophetic poetry, they adopt a peculiar mode of doing it, and seldom regulate the imagery which they introduce by any fixed principle or standard. Not satisfied with a simple metaphor, they often run it into an allegory, or blend with it a direct comparison. The allegory sometimes follows, and sometimes precedes the simile: to this is added a frequent change of imagery, as well as of persons and tenses; and thus are displayed an energy and boldness, both of expression and meaning, which are unconfined by any stated rules, and which mark the discriminating genius of the Hebrew poetry. Thus, in  Genesis 49:9 , "Judah is a lion's whelp;" this metaphor is immediately drawn out into an allegory, with a change of person: "From the prey, my son, thou art gone up," that is, to the mountains, which is understood; and in the succeeding sentences the person is again changed, the image is gradually advanced, and the metaphor is joined with a comparison that is repeated.

"He stoopeth down, he coucheth as a lion; And as a lioness; who shall rouse him?"

A similar instance occurs in the prophecy, recorded in  Psalms 110:3 , which explicitly foretels the abundant increase of the Gospel on its first promulgation. This kind of allegory, however, sometimes assumes a more regular and perfect form, and then occupies the whole subject and compass of the discourse. An example of this kind occurs in Solomon's well-known allegory,  Ecclesiastes 12:2-6 , in which old age is so admirably depicted. There is also, in  Isaiah 28:24-29 , an allegory, which, with no less elegance of imagery, is more simple and regular, as well as more just and complete, both in the form and the method of treating it. Another kind of allegory is that which, in the proper and more restricted sense, may be called a parable; and consists of a continued narration of some fictitious event, accommodated, by way of similitude, to the illustration of some important truth. The Greeks call these allegories αινοι , or apologues, and the Latins fabulae, or fables. ( See Parable . ) The third species of allegory, which often occurs in the prophetic poetry, is that in which a double meaning is couched under the same words, or when the same discourse, differently interpreted, designates different events, dissimilar in their nature, and remote as to time. These different relations are denominated the literal and mystical senses. This kind of allegory, which the learned prelate calls mystical, seems to derive its origin from the principles of the Jewish religion; and it differs from the two former species in a variety of respects. In these allegories the writer may adopt any imagery that is most suitable to his fancy or inclination; but the only proper materials for this allegory must be supplied from the sacred rites of the Hebrews themselves; and it can only be introduced in relation to such things as are immediately connected with the Jewish religion, or their immediate opposites. The former kinds partake of the common privileges of poetry; but the mystical allegory has its foundation in the nature of the Jewish economy, and is adapted solely to the poetry of the Hebrews. Besides, in the other forms of allegory, the exterior or ostensible imagery is mere fiction, and the truth lies altogether in the interior or remote sense; but in this allegory each idea is equally agreeable to truth. The exterior or ostensible image is itself a reality; and although it sustains another character, it does not wholly lay aside its own. There is also a great variety in the use and conduct of the mystical allegory; in the modes in which the corresponding images are arranged, and in which they are obscured or eclipsed by one another. Sometimes the obvious or literal sense is so prominent and conspicuous both in the words and sentiments, that the remote or figurative sense is scarcely permitted to glimmer through it. On the other hand, the figurative sense is more frequently found to beam forth with so much perspicuity and lustre, that the literal sense is quite cast into the shade, or becomes indiscernible. Sometimes the principal or figurative idea is exhibited to the attentive eye with a constant and equal light; and sometimes it unexpectedly glares upon us, and breaks forth with sudden and astonishing coruscations, like a flash of lightning bursting from the clouds. But the mode or form of this figure which possesses the chief beauty and elegance, is, when the two images, equally conspicuous, run, as it were, parallel throughout the whole poem, mutually illustrating and correspondent to each other. The learned author has illustrated these observations by instances selected from Psalms 2, , 72. He adds, that the mystical allegory is, on account of the obscurity resulting from the nature of the figure, and the style of the composition, so agreeable to the nature of the prophecy, that it is the form which it generally, and indeed lawfully, assumes, as best adapted to the prediction of future events. It describes events in a manner exactly conformable to the intention of prophecy; that is, in a dark, disguised, and intricate manner, sketching out, in a general way, their form and outline; and seldom descending to a minuteness of description and exactness of detail.

Hastings' Dictionary of the New Testament

The word is derived from the Greek ἀλληγορία, used of a mode of speech which implies more than is expressed by the ordinary meaning of the language. This method of interpreting literature was practised at an early date and among different peoples. When ideas of a primitive age were no longer tenable, respect for the ancient literature which embodied these ideas was maintained by disregarding the ordinary import of the language in favour of a hidden meaning more in harmony with contemporary notions. The word ‘allegory’ has come to be used more particularly of a certain type of Scripture interpretation ( q.v. [Note: quod vide, which see.] ) current in both Jewish and Christian circles. Its fundamental characteristic is the distinction between the apparent meaning of Scripture and a hidden meaning to be discovered by the skill of the interpreter. In allegory proper, when distinguished from metaphor, parable, type, etc., the veiled meaning is the more important, if not indeed the only true one, and is supposed to have been primary in the intention of the writer, or of God who inspired the writer. Jewish interpreters, particularly in the Diaspora, employed this means of making the OT acceptable to Gentiles. They aimed especially at showing that the Jews’ sacred books, when properly interpreted, contained all the wisdom of Greek philosophy. This interest flourished chiefly in Alexandria, and found its foremost representative in Philo ( q.v. [Note: quod vide, which see.] ), who wrote early in the 1st cent. a.d. His Allegories of the Sacred Laws is one of his chief works, though all his writings are dominated by this method of interpretation. Similarly Josephus ( q.v. [Note: quod vide, which see.] ), a half-century or so later, says that Moses taught many things ‘under a decent allegory’ ( Ant . Proœm. 4). Allegory was used freely also by Palestinian interpreters, though less far apologetic than for homiletic purposes. They were less ready than Philo to abandon the primary meaning of Scripture, but they freely employed allegorical devices, particularly in the Haggadic midrâshîm .

When Christians in the Apostolic Age began to interpret Scripture, it was inevitable that they should follow the allegorical tendencies so prevalent at the time. Yet the use of this method is far less common in the NT than in some later Christian literature, e.g. the Epistle of Barnabas ( q.v. [Note: quod vide, which see.] ). St. Paul claims to be allegorizing when he finds the two covenants not only prefigured, but the validity of his idea of two covenants proved, in the story of Hagar ( q.v. [Note: quod vide, which see.] ) and Sarah ( Galatians 4:24-30). Allegorical colouring is also discernible in his reference to the muzzling of the ox ( 1 Corinthians 9:9 f.), the following rock ( 1 Corinthians 10:4), and the veil of Moses ( 2 Corinthians 3:13 ff.). The Epistle to the Hebrews is especially rich in these features, which are much more Alexandrian in type than the writings of St. Paul ( e.g.  Hebrews 8:2;  Hebrews 8:5;  Hebrews 9:23;  Hebrews 10:1;  Hebrews 11:1;  Hebrews 11:8;  Hebrews 12:27 f.). Certain Gospel passages also show allegorical traits, where in some instances the allegorical element may have come from the framers of tradition in the Apostolic Age ( e.g.  Mark 4:13-20= Matthew 13:18-25= Luke 8:11-15;  Mark 12:1-12= Matthew 21:33-46= Luke 20:9-19;  Matthew 13:24-30;  Matthew 13:36-43,  John 10:1-16;  John 15:1-8).

Literature.-See list appended to articleInterpretation.

S. J. Case.

Holman Bible Dictionary

Background Allegory arose from the Cynic and Stoic philosophies of the Hellenistic period (fourth to second centuries B.C.). As a general phenomenon, allegorical interpretation is adopted when sacred traditions are challenged by advances in knowledge and thought. When no longer able to interpret the traditions historically, and being unwilling to discard the traditions themselves, followers of the traditions probe for deeper, symbolic meanings. In the Greek world allegory was used primarily to interpret the Homeric myths and to preserve some moral and philosophical truths from them.

Old Testament Allegory Scholars generally agree that none of the Old Testament was written allegorically. Portions of it have been interpreted allegorically by later generations. For example, interpreting the Song of Solomon as an allegory of God's love for Israel rather than as a collection of romantic love songs may have played a role in the acceptance of that book into the Old Testament canon.

Allegorical interpretation of the Old Testament arose among Hellenistic Jews in Alexandria during the second century B.C. Philo, who died about A.D. 50, was its most prolific proponent. Philo sought to preserve Old Testament traditions against Greek perspectives in science and philosophy. He applied allegory to many portions of the Old Testament where the biblical views seemed to contradict contemporary secular understandings. Jewish proponents of allegory, however, never abandoned the historical meaning of their traditions to the extent that Greek proponents did.

Jewish interpreters in Palestine were less influenced by allegorical approaches. Their allegories were less complex and remained closer to the literal meaning. The rabbis placed more emphasis on extracting legal prescriptions from the traditions, while other interpreters were more attracted to viewing the Old Testament in terms of prophecies to be fulfilled.

New Testament New Testament writers have more in common with the approaches of Palestinian Jewish interpreters of the Old Testament than with Hellenistic interpreters like Philo. Allegory is not widely used in the New Testament; and when it is employed, it does not depart far from the literal meaning. A strong prophetic-fulfillment interpretation of the Old Testament also is evident.

While Jesus never made allegorical interpretations of the Old Testament, some of His parables were interpreted as allegories. The parable of the soils ( Mark 4:1-20 ) and the parable of the tares ( Matthew 13:24-30 ,Matthew 13:24-30, 13:36-43 ) are prime examples. Other parables draw on obvious Old Testament images (such as the vineyard representing Israel). In general, however, parables are to be distinguished from allegories because of their simplicity, sharp focus, and direct imagery. Contemporary scholarship generally prefers the plain and obvious point of the parable over the veiled and obscure meanings that often characterize allegories.

Paul employed allegorical interpretations on four occasions ( 1 Corinthians 5:6-8;  1 Corinthians 9:8-10;  1 Corinthians 10:1-11;  Galatians 4:21-31 ), once employing the word allegory itself ( Galatians 4:24 ). Paul's allegories generally are restrained and focus on contemporary application.

 1 Corinthians 5:6-8 is not so much an interpretation of the Old Testament as it is the use of an Old Testament image that finds fulfillment in the sacrifice of Christ, our Passover.   1 Corinthians 10:1-11 draws heavily on the fulfillment that “followed” the Old Testament people in the person of Christ. These approaches are not far from Matthew's citations of Old Testament testimonies about Christ. They bear more resemblance to prophetic fulfillment than to allegory.

On the other hand,  1 Corinthians 9:8-10 departs completely from the literal meaning of the law as it applied to muzzling oxen; and   Galatians 4:21-31 is a thorough allegorization of the Old Testament. The writer of Hebrews followed in that same spirit in dealing with Old Testament themes like Melchizedek, the Old Testament priesthood, and the tabernacle.

Michael Fink

Baker's Evangelical Dictionary of Biblical Theology

A popular form of literature in which a story points to a hidden or symbolic parallel meaning. Certain elements, such as people, things, and happenings in the story, point to corresponding elements in another realm or level of meaning. The closer the resemblances between the two realms, the more detailed is the allegory. The best allegories are interesting, coherent stories in their own right and through the story provide new insight into the realm they depict (e.g., Pilgrim's Progress and The Narnia Chronicles ). Semitic parables, including the Gospel parables, have varying amounts of allegorical elements. Those with many corresponding elements in both realms are properly called allegories.

Allegorical interpretation, sometimes called allegorizing, is interpretation of texts that treats them as allegorical, whether or not their author intended them to be allegories. Allegorical interpretations even of true allegories can be misleading, either in incorrectly identifying the corresponding elements in the referent or in identifying corresponding elements where no correspondence was originally intended. Either allegorizing error usually detracts from the coherence of the message the author intended. Such unwarranted allegorizing was prevalent in the later church fathers and often ludicrous in gnostic circles.

Nathan's parable of the rich man who slew a poor man's beloved pet lamb in  2 Samuel 12:1-4 has allegorical reference to David's actions in causing Uriah's death in order to take his wife. But it was just different enough that David did not initially recognize the referent and pronounced judgment on the wicked rich man. Nathan's "You are the man!" struck David to the quick precisely because he recognized the parallels between his actions and the rich man's, between Uriah and the poor man, and between Uriah's wife and the ewe lamb. The allegory told by the wise woman of Tekoa in   2 Samuel 14:4-7 similarly opened David's eyes to a new perspective and caused him to spare the life of Absalom. (Other Old Testament allegories include   Isaiah 5:1-6;  Ezekiel 17:1-24;  24:3-14;  Daniel 2:31-45;  4:10-33;  7:1-28;  8:1-27 .)

The parables of Jesus have a wide range of degrees of allegorical reference. The parable of the sower is followed by an allegorical interpretation ( Mark 4:14-20 ) that has been widely criticized, but on examination, the common objections turn out to support authenticity. For example, birds as a symbol for Satan, rather than being alien were commonly used to depict Satan in rabbinic literature (e.g., Jub 11:5-24), where birds devour seed in the process of sowing. If the Gospel tradition progressively allegorized the parables, as many allege, it is surely odd that the earliest Gospels (Mark, Matthew) contain the most allegorical elements, whereas the later Gospels contain progressively less (Luke, John).

In Galatians 4:21-31Paul uses the story of the children of Sarah (Isaac) and Hagar (Ishmael) and the images of Jerusalem above and Mount Sinai as a double allegory, both pairs contrasting the covenant of freedom and the covenant of slavery. This allegory adds an earthy, emotional appeal to Paul's arguments for freedom in Christ.

Philip Barton Payne

See also Parable

Bibliography . P. B. Payne, Gospel Perspectives, pp. 163-207.

Hawker's Poor Man's Concordance And Dictionary

We meet with this word but once in the Bible, namely, ( Galatians 4:24) where the apostle, speaking of the history of Sarah and Hagar, calls it an allegory; that is, a figure, or parable. The Old Testament writers were very partial to this way of teaching, in conveying divine truths through the medium of human illustrations; and sometimes by other objects from the world of nature and art. Our almighty Saviour was pleased to adopt a similar manner; and so much so at one time, that we are told, "without a parable spake he not unto the people." ( Matthew 13:34) This allegory of Sarah and Hagar, is not only uncommonly beautiful, but most highly interesting. We never can be sufficiently thankful to God the Holy Ghost, for bringing the church acquainted with the blessed truths which were folded up in this patriarchal history. Never would it have entered into the breast of any man alive, untaught of the church's almighty Teacher, that such glorious things were intended by the Lord to be shadowed forth in the children of the bond woman and the children of the free. Let the reader learn from it this most blessed truth, that the Lord hath been preaching all along, and from the first dawn of revelation, the covenant of redemption by his dear Son. Think reader, if it be possible, how JEHOVAH'S mind hath been occupied from all eternity, in bringing in, and revealing the Lord Jesus to his church and people. Well might it be said, as it is said, when Jesus, who had been secretly set up from everlasting the glorious Head of his body the church, was openly to be brought into the world,"Let all the angels of God worship him!" ( Hebrews 1:6) It will be a blessed view of this sweet allegory, now so graciously explained to us as it is, by the Holy Ghost himself, if both he that writes and he that reads, when summing up the wonderful account, can say with the apostle, "We are not children of the bond-woman, but of the free." ( Galatians 4:31)

Smith's Bible Dictionary

Allegory. A figure of speech, which has been defined by Bishop Marsh, in accordance with its etymology as, "A Representation Of One Thing Which Is Intended To Excite The Representation Of Another Thing". ( "A Figurative Representation Containing A Meaning Other Than And In Addition To The Literal." "A Fable Or Parable; Is A Short Allegory With One Definite Moral." - Encyclopedia Britannica).

In every allegory, there is a twofold sense - the Immediate or Historic , which is understood from the words, and the Ultimate , which is concerned with the things signified by the words. The allegorical interpretation is not of the words, but of the thing signified by them, and not only may, but actually does, coexist with the literal interpretation in every allegory, whether the narrative in which it is conveyed be of things possible or real.

An illustration of this may be seen in  Galatians 4:24, where the apostle gives an allegorical interpretation to the historical narrative of Hagar and Sarah, not treating that narrative as an allegory in itself; as our Authorized Version would lead us to suppose, but drawing from it a deeper sense than is conveyed by the immediate representation.

(Addison's Vision Of Mirza and Bunyan's Pilgrim'S Progress are among the best allegories in all literature - Editor).

Vine's Expository Dictionary of NT Words

1: Ἀλληγορέω (Strong'S #238 — Verb — allegoreo — al-lay-gor-eh'-o )

translated in  Galatians 4:24 "contain an allegory" (AV, "are an allegory"), formed from allos, "other," and agoreuo, "to speak in a place of assembly" (agora, "the market-place"), came to signify "to speak," not according to the primary sense of the word, but so that the facts stated are applied to illustrate principles. The "allegorical" meaning does not do away with the literal meaning of the narrative. There may be more than one "allegorical" meaning though, of course, only one literal meaning. Scripture histories represent or embody spiritual principles, and these are ascertained, not by the play of the imagination, but by the rightful application of the doctrines of Scripture.

Fausset's Bible Dictionary

Once in Scripture ( Galatians 4:24): "which things (The History Of Hagar And Sarah, Ishmael And Isaac ) are an allegory;" (are, when allegorized, etc.) not that the history is unreal as to the literal meaning, (such as is the Song of Solomon, a continued allegory); but, besides the literal historical fact, these events have another and a spiritual significance, the historical truths are types of the antitypical truths; the child of the promise, Isaac, is type of the gospel child of God who is free to love and serve his Father in Christ; the child of the bondwoman, Ishmael, is type of those legalists who, seeking justification by the law, are ever ill the spirit of bondage. Origen at Alexandria introduced a faulty system of interpreting Scripture by allegorizing, for which this passage gives no warrant. In an allegory there is

(1) an immediate sense, which the words contain; and

(2) the main and ulterior sense, which respects the things shadowed forth. In pure allegory the chief object aimed at is never directly expressed.

King James Dictionary

AL'LEGORY, n. Gr. other, to speak, a forum, an oration.

A figurative sentence or discourse, in which the principal subject is described by another subject resembling it in its properties and circumstances. The principal subject is thus kept out of view, and we are left to collect the intentions of the writer or speaker, by the resemblance of the secondary to the primary subject. Allegory is in words that hieroglyphics are in painting. We have a fine example of an allegory in the eightieth Psalm, in which God's chosen people are represented by a vineyard. The distinction in scripture between a parable and an allegory, is said to be that a parable is a supposed history, and an allegory, a figurative description of real facts. An allegory is called a continued metaphor. The following line in Virgil is an example of an allegory.

Claudite jam rivos, pueri, sat prata biberunt.

Stop the currents, young men, the meadows have drank sufficiently that is let your music cease, our ears have been sufficiently delighted.

American Tract Society Bible Dictionary

A figurative mode of discourse, which employs terms literally belonging to one thing, in order to express another. It is strictly a prolonged metaphor. Such are Nathan's address to David,  2 Samuel 12:1 -  14;  Psalm 80:1-19 , and our Lord's parable of the sower,  Luke 8:5 -  15 . The expression, "which things are an allegory,"  Galatians 4:24 , means that the events in the life of Isaac and Ishmael, mentioned in previous verses, have been allegorically applied.

Webster's Dictionary

(1): (n.) Anything which represents by suggestive resemblance; an emblem.

(2): (n.) A figurative sentence or discourse, in which the principal subject is described by another subject resembling it in its properties and circumstances. The real subject is thus kept out of view, and we are left to collect the intentions of the writer or speaker by the resemblance of the secondary to the primary subject.

(3): (n.) A figure representation which has a meaning beyond notion directly conveyed by the object painted or sculptured.

Easton's Bible Dictionary

 Galatians 4:24

Every parable is an allegory. Nathan ( 2 Samuel 12:1-4 ) addresses David in an allegorical narrative. In the eightieth Psalm there is a beautiful allegory: "Thou broughtest a vine out of Egypt," etc. In  Ecclesiastes 12:2-6 , there is a striking allegorical description of old age.

Morrish Bible Dictionary

The word ἀλληγορέω occurs only in  Galatians 4:24 . The passage does not mean that Abraham having two sons was an allegory: it was history, but that history had an allegorical application, which Paul, by the Holy Ghost, fully explains. The Greek word signifies 'to speak otherwise,' and an allegory is a description of one thing under the image of another.

Hastings' Dictionary of the Bible

ALLEGORY . See Parable.

International Standard Bible Encyclopedia

al´ē̇ - go - ri  : The term allegory, being derived from ἄλλο ἀγορεύειν , állo agoreúein , signifying to say something different from what the words themselves imply, can etymologically be applied to any figurative form of expression of thought. In actual usage in theology, the term is employed in a restricted sense, being used however in three ways, namely, rhetorically, hermeneutically and homiletically. In the first-mentioned sense it is the ordinary allegory of rhetoric, which is usually defined as an extended or continued metaphor, this extension expanding from two or more statements to a whole volume, like Bunyan's Pilgrim's Progress . Allegories of this character abound in the Scriptures, both in Old Testament and in New Testament. Instructive examples of this kind are found in  Psalm 80:8-19;  Ecclesiastes 12:3-7; Jn 10:1-16;  Ephesians 6:11-17 . According to traditional interpretation of both the Jewish exegesis and of the Catholic and Protestant churches the entire book of Canticles is such an allegory. The subject is discussed in full in Terry's Biblical Hermeneutics , etc., chapter vii, 214-38.

In the history of Biblical exegesis allegory represents a distinct type of interpretation, dating back to pre-Christian times, practiced particularly by the Alexandrian Jews, and adopted by the early Church Fathers and still practiced and defended by the Roman Catholic church. This method insists that the literal sense, particularly of historical passages, does not exhaust the divinely purposed meaning of such passages, but that these latter also include a deeper and higher spiritual and mystical sense. The fourfold sense ascribed to the Scriptures finds its expression in the well-known saying: Littera gesta docet; quid credas , allegorica; moralis , quid agas , quid speres , anagogica ("The letter shows things done; what you are to believe, the allegoric; what you are to do, the moral; what you are to hope, the anagogic"), according to which the allegorical is the hidden dogmatical meaning to be found in every passage. Cremer, in his Biblico-Theological New Testament Lexicon , shows that this method of finding a hidden thought behind the simple statement of a passage, although practiced so extensively on the Jewish side by Aristobulus and especially Philo, is not of Jewish origin, but was, particularly by the latter, taken from the Alexandrian Greeks (who before this had interpreted Greek mythology as the expression of higher religious conceptions) and applied to a deeper explanation of Old Testament historical data, together with its theophanies, anthropomorphisms, anthropopathies, and the like, which in their plain meaning were regarded as unworthy of a place in the Divine revelation of the Scriptures. Such allegorizing became the common custom of the early Christian church, although not practiced to the same extent in all sections, the Syrian church exhibiting the greatest degree of sobriety in this respect. In this only Jewish precedent was followed; the paraphrases commonly known as the Targum, the Midrash, and later in its most extreme form in the Kabbalah, all showed this mark of eisegesis instead of exegesis. This whole false hermeneutical principle and its application originated doubtless in an unhistorical conception of what the Scriptures are and how they originated. It is characteristic of the New Testament, and one of the evidences of its inspiration, that in the entire Biblical literature of that age, both Jewish and Christian, it is the only book that does not practice allegorizing but abides by the principle of the literal interpretation. Nor is Paul's exegesis in  Galatians 4:21-31 an application of false allegorical methods. Here in   Galatians 4:24 the term αλλεγορουμενα , allēgoroúmena need not be taken in the technical sense as expressive of a method of interpretation, but merely as a paraphrase of the preceding thought; or, if taken technically, the whole can be regarded as an argumentum ad hominem , a way of demonstration found also elsewhere in Paul's writings. The Protestant church, beginning with Luther, has at all tunes rejected this allegorizing and adhered to the safe and sane principle, practiced by Christ and the entire New Testament, namely, Sensum ne inferas , sed efferas ("Do not carry a meaning into (the Scriptures) but draw it out of (the Scriptures)"). It is true that the older Protestant theology still adheres to a sensus mysticus in the Scriptures, but by this it means those passages in which the sense is conveyed not per verba (through words), but per res verbis descriptas ("through things described by means of words"), as e.g. in the parable and the type.

In homiletics allegorizing is applied to the method which draws spiritual truths from common historical statements, as e.g. when the healing of a leper by Christ is made the basis of an exposition of the healing of the soul by the Saviour. Naturally this is not interpretation in the exegetical sense.

Cyclopedia of Biblical, Theological and Ecclesiastical Literature

( Ἀλληγορία ) occurs in the Bible only in the participial form, Ἀλληγορούμενος , Allegorized ( Galatians 4:24), where the apostle cites the history of the freeborn Isaac and the slave-born Ishmael, and only speaks of it as allegorically applied. Allegories themselves are, however, of frequent occurrence in Scripture.

An allegory has been sometimes considered as only a lengthened metaphor; at other times as a continuation of metaphors. But, according to its original and proper meaning, as shown by its derivation, the term denotes a representation of one thing which is intended to excite the representation of another thing. In most allegories the immediate representation is made in the form of a narrative; and, since it is the object of the allegory itself to convey a moral, not a historic truth, the narrative is commonly fictitious. The immediate representation is understood from the words of the allegory; the ultimate representation depends upon the immediate representation applied to the proper end. The interpretation of the former is commonly called the grammatical or the literal interpretation, although we should speak more correctly in calling it the verbal interpretation, since, in the plainest narratives, even in narratives not designed for moral application, the use of words is never restricted to their mere literal senses. Every parable is a kind of allegory; e.g. in the parable of the sower ( Luke 8:5-15) we have a plain narrative — a statement of a few simple and intelligible facts, such, probably, as had fallen within the observation of the persons to whom our Savior addressed himself, followed by the explanation or allegorical interpretation. The impressive and pathetic allegory addressed by Nathan to David affords a similar instance of an allegorical narrative accompanied with its explanation ( 2 Samuel 12:1-14). Allegories thus accompanied constitute a kind of simile, in both parts of which the words themselves are construed either literally or figuratively, according to the respective use of them; and then we institute the comparison between the things signified in the former part and the things signified in the latter part. The most frequent error in the interpretation of allegorical representations is the attempt to discover too minute coincidences, or to apply them in all their details. (See Parable).

But allegorical narratives are frequently left to explain themselves, especially when the resemblance between the immediate and ultimate representation is sufficiently apparent to make an explanation unnecessary. Of this kind we cannot have a more striking example than that beautiful one contained in the 80th Psalm, "Thou broughtest a vine out of Egypt," etc. The allegorical delineation of old age by Solomon ( Ecclesiastes 12:2-6) is perhaps one of the finest of the Old Testament. The use of allegorical interpretation is not, however, confined to mere allegory, or fictitious narratives, but is extended also to history or real narratives. And in this case the grammatical meaning of a passage is called its historical, in contradistinction to its allegorical meaning. There are two modes in which Scripture history has been thus allegorized. According to one, facts and circumstances, especially those recorded in the Old Testament, have been applied to other facts and circumstances, of which they have been described as representative. According to the other, these facts and circumstances have been described as mere emblems. The former is warranted by the practice of the sacred writers themselves; for when facts and circumstances are so applied, they are applied as types of those things to which the application is made. But the latter has no such authority in its favor, though attempts have been made to procure such authority. For the same things are there described, not as types or as real facts, but as mere ideal representations, like the immediate representations in allegory. By this mode, therefore, history is not treated as allegory, but converted into allegory — a mode of interpretation that cannot claim the sanction of Paul from the above treatment of the history of Isaac and Ishmael. — Marsh, Criticism and Interpretation of the Bible, Lect. 5. (See Interpretation).

Kitto's Popular Cyclopedia of Biblial Literature

This word is found in the Authorized Version of  Galatians 4:24, but it does not actually exist as a noun in the Greek Testament, nor even in the Septuagint. In the passage in question Saint Paul cites the history of the free-born Isaac and the slave-born Ishmael, and in proceeding to apply it spiritually, he says, not as in our version, 'which things are an allegory,' but 'which things are allegorized.' This is of some importance; for in the one case the Apostle is made to declare a portion of Old Testament history an allegory, whereas in truth he only speaks of it as allegorically applied. Allegories themselves are, however, of frequent occurrence in Scripture, although that name is not there applied to them.

An Allegory has been sometimes considered as only a lengthened metaphor; at other times, as a continuation of metaphors. But the nature of allegory itself, and the character of allegorical interpretation, will be best understood by attending to the origin of the term which denotes it. Now the term 'Allegory,' according to its original and proper meaning, denotes a representation of one thing which is intended to excite the representation of another thing. Every allegory must therefore be subjected to a twofold examination: we must first examine the immediate representation, and then consider what other representation it is intended to excite. In most allegories the immediate representation is made in the form of a narrative; and, since it is the object of the allegory itself to convey a moral, not an historic truth, the narrative is commonly fictitious. The immediate representation is of no further value than as it leads to the ultimate representation. It is the application or the moral of the allegory which constitutes its worth.

Every parable is a kind of allegory; and as an example, especially clear and correct, we may refer to the parable of the sower ( Luke 8:5-15). In this we have a plain narrative, a statement of a few simple and intelligible facts, such, probably, as had fallen within the observation of the persons to whom our Saviour addressed himself. When he had finished the narrative, or the immediate representation of the allegory, he then gave the explanation or ultimate representation of it; that is, he gave the allegorical interpretation of it. And that the interpretation was an interpretation, not of the words, but of the things signified by the words, is evident from the explanation itself: 'The seed is the word of God; those by the wayside are they that hear,' etc. ( Luke 8:11, etc.). The impressive and pathetic allegory addressed by Nathan to David affords a similar instance of an allegorical narrative accompanied with its explanation ( 2 Samuel 12:1-14).

But allegorical narratives are frequently left to explain themselves, especially when the resemblance between the immediate and ultimate representation is sufficiently apparent to make an explanation unnecessary. Of this kind we cannot have a more striking example than that beautiful one contained in  Psalms 80:8 : 'Thou broughtest a vine out of Egypt,' etc.

The use of allegorical interpretation is not, however, confined to mere allegory, or fictitious narratives, but is extended also to history, or real narratives. And in this case the grammatical meaning of a passage is called its historical meaning, in contradistinction to its allegorical meaning. There are two different modes in which Scripture history has been thus allegorized. According to one mode, facts and circumstances, especially those recorded in the Old Testament, have been applied to other facts and circumstances, of which they have been described as representative. According to the other mode, these facts and circumstances have been described as mere emblems. The former mode is warranted by the practice of the sacred writers themselves; for when facts and circumstances are so applied, they are applied as types of those things to which the application is made but no such authority in favor of the latter mode of allegorical interpretation can be produced.

The Nuttall Encyclopedia

A figurative mode of representation, in which a subject of a higher spiritual order is described in terms of that of a lower which resembles it in properties and circumstances, the principal subject being so kept out of view that we are left to construe the drift of it from the resemblance of the secondary to the primary subject.