A Wilderness Of Opinions Confounded

This book proposes that allegory is not a species of literature but a structure of reading applied to uncomfortable juxtapositions within literary texts. Examples from centuries of response to English Renaissance narrative poetry show not what poems mean but how they may be read and what cultural conditions encourage allegorical or nonallegorical readings. The study also encompasses interpretations of classical verse, biblical parable, Jacobean masque, modern lyric, and television advertising to explore how texts move in and out of the category of allegory.

Within the last half-century, early scholarly approaches and analysis of John Bunyan’s Pilgrim’s Progress have seen siginificant advances in mandating and enabling a more contextualized view of Bunyan’s oeuvre. Utilizing this fresh examination of context, John Bunyan’s Imaginary Writings in Context explores Bunyan’s writings in a double context: his fictional works vis-à-vis his own non-fictional writings, and his fictional writings in the context of written materials by other authors – books, tracts, spiritual biographies, and poems available to Bunyan. This volumepresents these recent developments by blurring the boundaries between fiction and non-fiction, between literature and history, and in the case of Bunyan, between imaginative literatures in fiction and theological writing. Moreover, this book aims to delineate the imaginary world underlying Bunyan’s fictional writings by viewing Bunyan’s own fictional works in tandem with his non-fiction writings. Simultaneously it situates aspects of Bunyan’s fiction in the context of writings available to him, whether these be Holy Scripture, religious tracts by other authors, or ballads and short texts current in the wider culture of the time.

The Signet Classics edition of William Shakespeare's fantastical play that combines elements of tragedy and comedy. Prospero—sorcerer and rightful Duke of Milan—has lived a reclusive life with his daughter Miranda in the years since his position was usurped by his brother, Antonio. Now, as Antonio’s ship passes near Prospero’s island home, the sorcerer conjures up a terrible storm that will change all of their destinies.... This revised Signet Classics edition includes unique features such as: • An overview of Shakespeare's life, world, and theater • A special introduction to the play by the editor, Robert Langbaum • Selections from William Strachey, Sylvester Jourdain, Montaigne, and Ovid, sources from which Shakespeare derived The Tempest • Dramatic criticism from Samuel Taylor Coleridge, E.M.W. Tillyard, Lori Jerrell, and others • A comprehensive stage and screen history of notable actors, directors, and productions • Text, notes, and commentaries printed in the clearest, most readable text • And more...

The Tempest: Critical Essays traces the history of Shakespeare's controversial late romance from its early reception (and adaptation) in the seventeenth and eighteenth centuries to the present. The volume reprints influential criticism, and it also offers eight originalessays which study The Tempest from a variety of contemporary perspectives, including cultural materialism, feminism, deconstruction, performance theory, and postcolonial studies. Unlike recent anthologies about The Tempest which reprint contemporary articles along with a few new essays, this volume contains a mixture of old and new materials pertaining to the play's use in the theater and in literary history.

Graceful Reading offers a new way of understanding Bunyan's theology and his narrative art, examining and reassessing the complex and interdependent relationship between them. Michael Davies begins by proposing that Bunyan's theology is far from obsessed with the forbidding Calvinist doctrine of predestination and its corollary tendency towards painful introspection. Bunyan's is, rather, a comfortable doctrine, in which the believer is encouraged to accept salvation throughthe far more assuring terms of Bunyan's covenant theology - those of faith and grace. The book then reassesses how Bunyan's narrative style is informed by this theology. Works such as Grace Abounding and The Pilgrim's Progress reveal a profound sensitivity to narrative forms and reading practices, as theyaim to inculcate in their readers a self-consciousness about reading itself which is instrumental in the very process of spiritual instruction, in seeing 'things unseen'. This is a study, therefore, which asserts a radically different way of reading of Bunyan's writings, both through the terms of seventeenth-century covenant theology, and through some distinctly 'postmodernist' ideas about narrative practice.

Centering her discussion on two historical "ways of reading"—which she calls the Protestant and the lettered—Barbara A. Johnson traces the development of a Protestant readership as it is reflected in the reception of Langland’s Piers Plowman and Bunyan’s Pilgrim’s Progress. Informed by reader-response and reception theory and literacy and cultural studies, Johnson’s ambitious examination of these two ostensibly literary texts charts the cultural roles they played in the centuries following their composition, roles far more important than their modern critical reputations can explain. Johnson argues that much more evidence exists about how earlier readers read than has hitherto been acknowledged. The reception of Piers Plowman, for example, can be inferred from references to the work, the apparatus its Renaissance printer inserted in his editions, the marginal comments readers inscribed both in printed editions and in manuscripts, and the apocryphal "plowman" texts that constitute interpretations of Langland’s poem. She demonstrates by example that what is culturally transmitted has not been just the work itself; it includes vestiges of past readers’ encounters with the text that are traceable both in the way a text is presented as well as in the way that presentation is received. Conditioned more by religious, historical, and economic forces than by literary concerns, Langland’s poem became a part of the reformist tradition that culminated in Bunyan’s Pilgrim’s Progress. By understanding this tradition, Bunyan’s place in it, and the way the reception of The Pilgrim’s Progress illustrates the beginning of a new, more realistic fictional tradition, Johnson concludes, we can begin to delineate a more accurate history of the ways literature and society intersect, a history of readers reading.

This book analyses how the three books of visions by Hildegard of Bingen use the allegorical vision as a form of knowledge. It describes how the visionary’s use of allegory and allegorical exegesis is linked to theories of cognition, interpretation, and prophecy. It argues that the form of the allegorical vision is not just the product of a medieval symbolic mentality, but specific to Hildegard’s position and the major transformations taking place in the prescholastic intellectual milieu, such as the changing use of Scripture or the shift from traditional hermeneutics to cognitive language philosophy. The book shows that Hildegard uses traditional forms of knowledge – prophecy, the vision, monastic theology, allegorical hermeneutics – in startlingly innovative ways by combining them and by revising them for her own time.