Piranesi
by Susanna Clarke
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Piranesi: Allusions 2 key examples

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

Key Examples in Piranesi

Allusions
Explanation and Analysis—Giovanni Piranesi:

Even before uncovering the truth about his identity, Piranesi expresses an awareness that he hasn't always been called by that name. Rather, "Piranesi" is a name given to him by the Other, likely in allusion to 18th-century Italian architect and artist Giovanni Battista Piranesi. This historical figure was best known for Carceri d'invenzione, or Imaginary Prisons, a series of etchings depicting underground vaults full of fantastical architectural elements including disappearing staircases and massive machines. Giovanni Piranesi's artwork went on to inspire surrealists like M. C. Escher, who is known for his dreamy, structurally impossible building and object designs.

Part 6
Explanation and Analysis—Plato's Theory of Forms:

Raphael describes the outside world to Piranesi. They debate whether it's better to see a representation (i.e., a statue of a mountain) or the actual thing the representation represents (i.e., the mountain itself), a conversation that alludes to Plato's Theory of Forms: 

This annoyed me. ‘I do not see why you say I can only see a representation in this World,’ I said with some sharpness. ‘The word “only” suggests a relationship of inferiority. You make it sound as if the Statue was somehow inferior to the thing itself. I do not see that that is the case at all. I would argue that the Statue is superior to the thing itself, the Statue being perfect, eternal and not subject to decay.’

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