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Literary Devices
Definition of Allusion
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... read full definition
Chapter 1
Explanation and Analysis—Tugenbund Cap:
As he describes Professor Lidenbrock’s house, Verne uses allusion and foreshadowing to subtly suggest the secretive and scholarly activities taking place inside. As Axel first introduces the house to the reader, he says:
The roof inclined to one side, in the position a German student belonging to the Tugendbund wears his cap.
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Chapter 3
Explanation and Analysis—Celebrated Alchemists:
In this passage, Lidenbrock utilizes allusions to notable historical thinkers—such as Avicenna, Bacon, Lully, and Paracelsus—to explain the regard in which scholars hold Arne Saknussemm:
Unlock with LitCharts A+“Arne Saknussemm!” he cried, in a triumphant tone.
“Why, that is a name, and an Icelandic name, too; that of a celebrated alchemist, a savant who lived in the sixteenth century.”
I looked at my uncle with a feeling of admiration.
“These alchemists,” he went on, “Avicenna, Bacon, Lully, Paracelsus, were the true, the only savants of their times. They made discoveries which may well astonish us. Why should not this Saknussemm have hidden under this incomprehensible cryptogram the secret of some surprising invention? It must be so. It is.”
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Explanation and Analysis—Soft Tongue of Virgil:
In this excerpt, the author incorporates an allusion to the renowned Latin poet Virgil. Through this, he shows Axel's views on the relative qualities of ancient Roman and ancient Icelandic literature. The professor muses on what the code might say, wondering aloud:
Unlock with LitCharts A+“This Saknussemm,” he went on, “was a learned man, and since he did not write in his mother tongue, he would be sure to employ the language in common use among the cultivated minds of the sixteenth century; [...] the learned in the sixteenth century generally wrote in Latin. I may rightly, then, say, à priori—this is in Latin.”
I started, for my recollections of Latinity revolted against the pretension of this assemblage of uncouth words to belong to the soft tongue of Virgil.
“Yes, Latin,” repeated my uncle; “but tangled Latin.”
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Chapter 4
Explanation and Analysis—Old Oedipus:
Axel is so nervous about the potential consequences of Lidenbrock uncovering the key to Saknussemm’s code that he compares his situation to a Greek tragedy. Verne alludes to Sophocles’s play Oedipus Rex to underscore how seriously Axel takes this dilemma:
Unlock with LitCharts A+But how could I get away? The professor might be back any moment. And suppose he called me, and wanted to recommence his logogryphical labours, which old Œdipus himself would not have undertaken? And if I am not forthcoming, what would be the consequence?
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Chapter 5
Explanation and Analysis—Leyden Jar:
In this passage, the author uses a simile and an allusion to a scientific instrument. This conveys Professor Lidenbrock’s excitement upon discovering new, exciting information about the Saknussemm book:
Unlock with LitCharts A+My uncle gave a leap as he read this, as if suddenly touched by a Leyden jar. He was magnificent in his joy, and daring, and conviction.
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Chapter 11
Explanation and Analysis—Cordial Farewell:
As the men depart for the countryside, Fridrikson wishes them well by alluding to Virgil’s famous line, “Et quacumque viam dederit fortuna sequamur.” This does two things: it demonstrates his refinement and intelligence, and it also foreshadows the approaching disturbances and trials. As they leave, Axel tries to say a heartfelt goodbye:
Unlock with LitCharts A+I launched out a cordial farewell in the best Latin I could find; then we jumped into our saddles, and M. Fridrikson repeated with his last adieux that line of Virgil which seemed to have been made for uncertain travellers on the road, like us: Et quacumque viam dederit fortuna sequamur.
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