BIBLIOGRAPHY
General discussions: Kenneth Burke, The Rhetoric of
Religion (Boston, 1961); Jean Daniélou, Sacramentum futuri:
études sur les origines de
la typologie biblique (Paris, 1950);
Angus Fletcher, Allegory: The Theory of a Symbolic Mode
(Ithaca,
1964); Northrop Frye, “Allegory,” Dictionary of
Poetry and Poetics (Princeton, 1967); R. P. C.
Hanson, Alle-
gory and
Event: A Study of the Sources and Significance
of Origen's
Interpretation of Scripture (London, 1959); Roger
Hinks, Myth and Allegory in Ancient Art (London, 1939);
Henri de Lubac, Exégèse
médiévale: les quatre sens de
l'écriture, Parts I and II (Paris, 1959-64); Erwin Panofsky,
Studies in Iconology: Humanistic Themes in the Art of
the
Renaissance (New York, 1939); Jean Pépin,
Mythe et allé-
gorie: les origines grecques et les contestations judéo-
chrétiennes (Paris, 1958); Rosemond Tuve, Allegorical
Imagery (Princeton, 1968); H. A.
Wolfson, The Philosophy
of the Church Fathers,
Vol. I: Faith, Trinity, Incarnation
(Cambridge,
Mass., 1956); idem, Philo: Foundations of Reli-
gious Philosophy in Judaism,
Christianity, and Islam, 2 vols.
(Cambridge, Mass., 1947).
More specialized treatments: Erich Auerbach, “Figura,”
Scenes from the Drama of European Literature: Six
Essays
(New York, 1959); Edgar de Bruyne, Études d'esthétique
médiévale (Bruges, 1946); Rudolf Bultmann et
al., Kerygma
and Myth: A Theological Debate (New
York, 1961), trans-
lated from the
German, Kerygma und Mythos, Vol. I;
Manfred Bukofzer, “Allegory in Baroque Music,” Journal
of the Warburg and Courtauld Institutes,
3 (1939-40); M. L.
Colish, The
Mirror of Language: A Study in the Medieval
Theory of
Knowledge (New Haven, 1968); C. H. Dodd, The
Interpretation of the Fourth Gospel (Cambridge, 1953); E. R.
Dodds, Pagan and Christian in an Age of Anxiety: Some
Aspects of Religious Experience from Marcus Aurelius to
Constantine (Cambridge, 1968); Austin Farrer, A
Rebirth
of Images: the Making of St. John's Apocalypse (London,
1949); Rosemary Freeman, English Emblem
Books (London,
1948); F. C. Grant, Roman
Hellenism and the New Testa-
ment
(New York, 1962); Adolf Katzellenbogen, Allegories
of
the Virtues and Vices in Mediaeval Art (London, 1939);
G. B.
Ladner, The Idea of Reform: Its Impact on Christian
Thought and Action in the Age of the Fathers (Cambridge,
Mass., 1959); A. O. Lovejoy, The Great Chain of Being:
a
Study of the History of an Idea (Cambridge, Mass.,
1936);
Frank Manuel, The Eighteenth Century Confronts
the Gods
(Cambridge, Mass., 1959); René Roques,
L'Univers
dionysien: Structure
hiérarchique du monde selon le Pseudo-
Denys (Paris, 1954); Jean Seznec, The Survival of the Pagan
Gods: the Mythological
Tradition and its Place in Renais-
sance Humanism and Art (New York, 1953); C. S.
Singleton,
“Allegory,” Essays
on Dante, ed. Mark Musa (Bloomington,
1964); Leo Spitzer, Classical and Christian Ideas of World
Harmony
(Baltimore, 1963); Maurice de Wulf, Philosophy
and
Civilization in the Middle Ages (Princeton, 1913); Edgar
Wind,
Pagan Mysteries in the Renaissance (London,
1958).
On literary conventions: Harry Berger, Jr., The
Allegorical
Temper (New Haven, 1957); Ernst Curtius, European Liter-
ature
in the Latin Middle Ages, trans. W. Trask (New York,
1953);
Edmond Faral, Les Arts poétiques du XII et du
XIII
siècle (Paris, 1924); Edwin Honig, Dark Conceit: the Making
of Allegory (Evanston,
1959); C. S. Lewis, The Allegory of
Love
(Oxford, 1936); E. D. Leyburn, Satiric Allegory: the
Mirror of Man (New Haven, 1956); Michael Murrin, The
Veil of Allegory (Chicago, 1969).
A crucial, but very recent, publication is D. C. Allen,
Mysteriously Meant: The Rediscovery of Pagan
Symbolism
and Allegorical Interpretation in the Renaissance
(Baltimore,
1970).
ANGUS FLETCHER
[See also Ambiguity;
Analogy; Chain of Being; Hermeticism;
Iconography; Prophecy; Symbol.]
