SEX, ALLEGORY AND CENSORSHIP: A RECONSIDERATION OF MEDIEVAL COMMENTARIES ON THE SONG OF SONGS
Mary Dove
Allegory, E.D. Hirsch argues, has all but vanished from the modem world. But in interpretation of Song Songs since Ongen and Augustine, allegorical readings have been central to debate. Distinguishing between Origen's explicit allegorising Augustine's declaredly literal reading Canncum Canticorum, continuity Origen is traced through medieval Glossa Ordinaria with public erotics which a comparison finally made Michel Foucault his La Volenti de savoir. 'ALLEGORY', SALD HIRSCH twenty-fifth anniversary issue New Literary History, 'has more or less gone away'.1 In academies die Western world, perceives scarcely any evidence interest either allegory as literary form mode interpretation.2 part, course, this manifestation academy having increasingly shut itself off its own intellectual history, particularly premodern during past quarter century. eyes contemporary hermeneutic theorists especially unappealing, because ancient intimate association interpretive traditions Christianity. Since 1960s, Christian allegoresis regrettably cause division among scholars literature Middle Ages. Those scholan who chosen interpret imaginative light practices developed for Bible accused intruding into texts were never intended be read though they sacra scriptura.3 The English scholar David Aers further, arguing that books interpreters them, either. 'Reflections on Allegory Theologians', contends diat 'clerical allegory', dismissive term
Literature and Theology