This article examines the question of allegory in Vico. While there have been some attempts to read the New Science as an allegory, little attention has been paid to what Vico himself meant by the term ‘allegory’. In fact, Vico complicates things by referring to two types of allegory: the philosophical allegory and the true poetic allegory. While the former term refers to the mode of signification of the age of man or the third age, the latter term has to do with the poetic characters that Vico ascribes to the divine or first age. Vico further emphasizes the difference between the two types of allegory by calling (or translating) the true poetic allegory “diversiloquium.” Through a careful reading of this unusual translation of the term ‘allegory’, this inquiry suggests a surprising relation between the mode of signification of poetic characters (allegory) and Vico’s philosophy of history.

Vico’s De nostri temporis studiorum ratione (1709) draws a distinction between two types of pedagogy, based on the difference between ars topica and ars critica, which is crucial to our present-day conception of human education. Ars critica is the source of the contemporary understanding of education. When Descartes put aside rhetoric, poetic, and history as having nothing to do with the conduct of right reasoning in the sciences, he established criticism as the ideal of education. On the Cartesian view no education is offered in the art of topics, which Vico understands as “the art of finding the middle term” that is necessary to the making of arguments.In Vico’s view, children are to be trained in memory, metaphor, and narration—or when they are adults they will be unable to find the starting points of thought. The Cartesian child will become a hollow-minded adult, expert in the use of methods, organizing materials, and calling up information but unable to make original judgments without ingenuity (ingenium)—the power to see the similar in dissimilars. On Vico’s view ars critica and all it implies is to be introduced only when the mind has been formed in its original powers of imagination.

Elio Gianturco said, of De mente heroica (On the Heroic Mind) “it is one of the most inspired ‘invitations to learning’ ever penned. . . . The eros of learning has seldom been expressed in more electrifying terms.”Vico advocates the humanist ideal that the goal of education is the realization of the natural bond between eloquence and wisdom. The educated person has the goal of becoming “wisdom speaking” (la sapienza che parla). The aim of the individual in any system of education should be to grasp all the branches of knowledge in their connections to each other, to see thought as forming a whole.On Vico’s view, the individual should acquire the power of wisdom speaking for the common good. The ideal to instill in students is a sense of heroic mind. This form of heroism is the cultivation of the virtues to seek not just honor and gain but to act for the social good. These are ancient ideals that carry with them their own power. On Vico’s view, they require constant and eloquent restatement by the teacher and should occupy a central place in the educational institution.

With the celebrated frontispiece to the New Science (1744) and through an immediate comparison of this image to the ancient moral fable inscribed in the Tablet of Cebes the Theban, Vico ingeniously employs a then well-known common topic and a conventional emblematic device to inaugurate his topics-based philosophy. A topical knowledge of the human cannot, for Vico, be seized by precept only; it must be undergone as an active and imaginative recovery of the topics through memory. In times of need, topical memory is consequential for civil wisdom and historical consciousness. An aptitude for the practic of topics is manifest in the manmade figurations of fable and poetry and in the requisite and recollective resynthesis of them. By modeling, exemplifying, explaining, and soliciting this aptitude for topical knowledge, Vico provides a multifold teaching on the acquisition of civil wisdom.

The rhetorical structure of Vico’s pedagogy is shaped predominantly by the ars topica. While most would associate the ars topica with the classical Greek and Roman cultures, where theories of topoi predominate rhetorical theory and pedagogy, this essay shows that the ars topica in the rhetorical structure of Vico’s pedagogy must be heroic in nature, rather than classical. Embodied in the figure of Homer, the ars topica in Vico’s pedagogy stands beyond the technical consciousness of the classical world. The figure of Homer stands for the imaginative poetic capacity to make figural connections and to escape the reduction of meaning to technical formulae. Such escape, for Vico, ensures the life and liberty of not only the individual mind but the civic realm.