By acknowledging interpretive theories of the past, Brittan provides a proper historical frame of reference in which today's student can better understand figurative language in poetry.

Literary allegory has deep roots in early reading and interpretation of Scripture and classical epic and myth. In this substantial study, Mindele Treip presents an overview of the history and theory of allegorical exegesis upon Scripture, poetry, and especially the epic from antiquity to the seventeenth and early eighteenth centuries, with close focus on the Renaissance and on the triangular literary relationship of Tasso, Spenser, and Milton. Exploring the different ways in which the term allegory has been understood, Treip finds significant continuities-within-differences in a wide range of critical writings, including texts of postclassical, patristic and rabbinical writers, medieval writers, notably Dante, Renaissance theorists such as Coluccio Salutati, Bacon, Sidney, John Harrington and rhetoricians and mythographers, and the neoclassical critics of Italy, England and France, including Le Bossu. In particular, she traces the evolving theories on allegory and the epic of Torquato Tasso through a wide spectrum of his major discourses, shorter tracts and letters, giving full translations. Treip argues that Milton wrote, as in part did Spenser, within the definitive framework of the mixed historical-allegorical epic erected by Tasso, and she shows Spenser's and Milton's epics as significantly shaped by Tasso's formulations, as well as by his allegorical structures and images in the Gerusalemme liberata. In the last part of her study Treip addresses the complex problematics of reading Paradise Lost as both a consciously Reformation poem and one written within the older epic allegorical tradition, and she also illustrates Milton's innovative use of biblical "Accommodation" theory so as to create a variety of radical allegorical metaphors in his poem. This study brings together a wide range of critical issues—the Homeric-Virgilian tradition of allegorical reading of epic; early Renaissance theory of all poetry as "translation" or allegorical metaphor; midrashic linguistic techniques in the representation of the Word; Milton's God; neoclassical strictures on Milton's allegory and allegory in general—all of these are brought together in new and comprehensive perspective.

According to the theoretical accounts which survive in the rhetorical handbooks of antiquity, allegory is extended metaphor, or an extended series of metaphors. This volume provides a critical discussion of ancient definitions of allegory and metaphor as merely ornamental 'tropes'. They examine metaphor and allegory from a variety of perspectives and compare theory with ancient literary practice.

This volume explores how the poetic technique of biblical metaphor was analyzed within the Jewish exegetical tradition that developed in Muslim Spain during the Golden Age of Hebrew poetry and was then transplanted to a Christian milieu. Abraham Ibn Ezra and Maimonides applied concepts from Arabic poetics, hermeneutics and logic to define metaphor and interpret it within their philological-literary readings of Scripture. David Kimhi integrated their methodologies with the midrashic creativity and sensitivity to nuance typical of his native Provence to create a new literary interpretive system that highlights the expressiveness of metaphor. This study is important for readers interested in metaphor, the Bible as literature, the history of biblical interpretation and the inter-relation between Arabic and Hebrew learning.

Although this work is written from a Christian viewpoint, it also presents the symbolic visions of the non-believer. The symbolic examination of God helps us to uncover what it means to be human, and where we are heading as a species. Symbols aid in conveying the abstract ideas that human languages are too limited to express. In the broadest sense, God symbolizes all the mysteries of existence. Any thinking person must ask the question, 'what is the ultimate significance of this frail and vulnerable flesh that clothes the human ego?' God symbolizes these important mysteries and beckons us to approach him for answers.