This term was first used by a
French writer and literary critic of Bulgarian origin Julia Kristeva in the 70s of the last century. An allusion is a
figure of speech with the obvious aesthetic effect of “creating a community”. It contains an element of the game. It is hidden, as if hinting, in one word or a short phrase refers to a book, a well-known historical fact, epic or religious tradition. Thus, it is assumed that readers are united with the writer by a single social formation with a particular religion, customs, society culture, knowledge of the time and circumstances of historical events, or the biographical details of prominent people.
If reminiscence “turns over” the above events in its original retelling, narrating, then allusion is a kind of author’s reference, a hint suggesting that it makes no sense to fully state. It is enough to tell readers, and they will imagine what is at stake.
It is noteworthy that the early writers of Christianity, for example Clement of Alexandria, revealed to readers the basics of the new faith through allusions already traditional for the Roman society: allusions to the works of famous authors of antiquity. So, in his work “Exhortations”, Clement made extensive use of phrases, words characteristic of Plato’s works: “charioteer of mankind”, a bunch of donkeys - old and young, “the ruler rules by a harness”.
Speaking of the classic ancient Greek epic, we recall that allusion is what used to be called “winged words”. Many of them assumed acquaintance of readers with the legends of Ancient Greece and other civilizations. Widely used in classical literature, the phrases "Augean stables", illustrating groomed, mess. The word "Herculean pillars" was used in the meaning of the end of the world. The name Antei means the inextricable connection of a person with his native land, the source of his power. Achilles' Heel is tantamount to a concept of limited but critical vulnerability. Needless to say, allusion is popular in creativity. Examples from the literature are numerous. Here are just a few.
Heinrich Senkevich’s novel “Camo Griadeshi” incorporates many biblical allusions. The mere use of the names of Jesus, the apostles Peter, Paul in the description of the artistic plot of the work implies the reader's acquaintance with the primary source - the New Testament.
This artistic figure is often generated by a historical event. For example, Charlotte Bronte puts in the mouth of Jen Eyre a mention of the crossing of the Rubicon River - the natural boundary separating Gaul and Italy (the crossing of which by Julius Caesar was tantamount to the start of a civil war). The writer emphasizes the irrevocability of the decision with this path (artistic figure).
Literary allusions are culturally determined, nationally owned. It is known that after the publication of Daphne Dumurier’s novel “Rebecca” in the English press, the opening phrase of this work about a dream in which the heroine of the novel returned to the Manderli estate became extremely popular, precisely as an introductory one preceding the adventure.
Authors often create them themselves, filling them with historical and factual content. The famous B. Stoker's novel “Count Dracula” correlates the main demonic character with the real historical character, Prince of Wallachia, Vlad III. In addition, the description of the castle of a noble vampire is realistic and corresponds, up to the details, to the real castle of this ruler.
Current writers also do not "graze the rear." Allusion is modern. It should be recognized that in fiction, starting from the second half of the last century, this artistic figure is unusually popular with writers, its placers are organically woven into the plot. A subtle ironic allusion to a book about Sherlock Holmes is the novel of the modern classic by Professor Umberto Eco, “The Name of the Rose”. The investigation of the mysterious murders was entrusted to the Franciscan monk Wilhelm of Baskervilsky (the irony is obvious). His assistant is called Adson (obviously consonant with Conandoile Watson). But the historical literary parallel seems to him a little. He portrays as a blind librarian Jorge of Burgos, a convicted murderer of the popular Argentinean author of short stories and novels Jorge Borges. Allusions are also widely used by contemporary Russian writers: Boris Akunin, Victor Pelevin.