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• A Note on Texts
• Abbreviations Preface
• * Dante's Idea of the Bible * Biblical Truth in the Paradiso * The Bible in the Inferno: Misprision and Prophetic Appropriation *Una nuova legge: The Beatitudes in the Purgatorio * Dante's Apocalypse Conclusion: Poet of the Biblical World Works Cited.
• (source: Nielsen Book Data)

Dante Alighieri cited the Bible extensively in his Commedia, but also used his epic poem to meditate on the meaning of the Scriptures as a 'true' text. The Biblical Dante provides close readings of passages from the Commedia to explore how Dante's concept of Biblical truth differs sharply from modern notions. V. Stanley Benfell examines Dante's argument that the truth of the sacred text could only be revealed when engaged with in a transformative manner - and that a lack of such encounters in his time had led to a rise in greed and corruption, notably within the Church. He also illustrates how the poet put forth a vision for the restoration of a just society using Biblical language and imagery, revealing ideas of both earthly and eternal happiness. The Biblical Dante provides an insightful analysis of attitudes towards both the Bible and how it was read in the Medieval period.
(source: Nielsen Book Data)

• Introduction
• Playing with Leviathan: Job and the aesthetic turn in biblical exegesis
• "Jonah historically regarded": improvisations on Kitto's Cyclopedia of biblical literature
• "Call me Ishmael": the BIble and the Orient
• Ahab, idolatry, and the question of possession: biblical politics
• Rachel's inconsolable cry: the rise of women's BIbles
• Epilogue.

Many writers in antebellum America sought to reinvent the Bible, but no one, Ilana Pardes argues, was as insistent as Melville on redefining biblical exegesis while doing so. In "Moby-Dick, " he not only ventured to fashion a grand new inverted Bible in which biblical rebels and outcasts assume center stage, but also aspired to comment on every imaginable mode of biblical interpretation, calling for a radical reconsideration of the politics of biblical reception. In "Melville's Bibles, " Pardes traces Melville's response to a whole array of nineteenth-century exegetical writings - literary scriptures, biblical scholarship, Holy Land travel narratives, political sermons, and women's bibles. She shows how Melville raised with unparalleled verve the question of what counts as Bible and what counts as interpretation.

• School and encyclical education in antiquity. Introduction ; School in the Graeco-Roman world ; The pivotal role of Homer ; Knowledge and formation : the insufficiency of encyclical studies ; Philo of Alexandria : a Hellenistic Jew on Greek education ; Summary of part 1
• The Christian agôn over encyclical studies in the first four centuries CE. Justin Martyr, his student Tatian and two Ps. Justins ; The apostolic tradition : prohibited occupations ; The teaching of the apostles (Didaskalia apostolorum) and the Syriac tradition : 'avoid all the books of the Gentiles' ; Tertullian : learning but not teaching encyclical studies ; Clement and Origen : Christian teachers in Alexandria ; Flavius Claudius Julianus : emperor and apostate : Christian teachers are immoral ; The Cappadocian fathers ; Jerome : an ascetic addicted to Greek learning ; Augustine : liberal studies : a window on the relationship between Greek culture and Christian faith ; Summary of part 2
• Looking back to the New Testament. The New Testament and encyclical studies ; Conclusion.

Homer was the gateway to education, to the skills of reading and writing. These skills were necessary for the nascent Church. Knowledge of Homer's writings was a sign of Greekness, of at-home-ness in the society. Education was embedded in the mythology, immorality and idolatry of these writings. This challenged the Christians. This study presents how Christians responded to this. The opinions varied from rejection of Homer and all pagan literature, considering them works of the Devil, to critical involvement with this literature. This study attempts to trace the discourse on Homer and education among the Christians back to the New Testament. The topic does not come to the surface, but it is argued that in Paul's letters contrasting attitudes towards the propaideutic logic and the philosophical principle of usus (making right use of) are present. He opposed a logic wherein Christian faith represented the peak of education, the culmination of liberal studies. In his instruction on how to relate to the pagan world, Paul argues in accordance with the principle of usus. The New Testament is not so dependent upon the Homeric poems, as assumed by some scholars. The first Christians faced two hermeneutical challenges of fundamental importnce: that of interpreting the Old Testament and how to cope with the Greek legacy embedded in Homer. The latter is not explicitly raised in the New Testament. But since the art of interpreting any text, presupposes reading skills, conveyed through liberal studies, the Homeric challenge must have been of outmost importance.
(source: Nielsen Book Data)

• Cover; Title; Copyright; Acknowledgments; Contents;
• 1. The Writer & The Bible;
• 2. To The Holy Land;
• 3. Three Biblical Images;
• 4. The Attack On The Bible;
• 5. Conclusion; Notes; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W.

Mark Twain enthusiasts will welcome this study of the great writer's attitude toward the Bible-and of the influence of Holy Writ upon both the man and the artist. While the theological beliefs of Twain have been well documented, Mr. Ensor's study is the first to consider only his familiarity with the Bible and the extensive use of it in his writings. The Bible elicited by turns pious, skeptical, comical, and even hostile reactions in Twain, but he could not ignore it. Mr. Ensor examines manifestations of these conflicting impulses from the early newspaper articles to the autobiographical dictations; he suggests that from the Bible Twain may have derived three images that recur in his works: the Prodigal Son (Twain often saw himself in the Bad Boy pose); Adam (representing for Twain an unjust loss of innocence he shared with all mankind); and Noah (Twain saw himself as a prophet warning civilization of impending doom).
(source: Nielsen Book Data)

• Cover; Title; Copyright; Acknowledgments; Contents;
• 1. The Writer & The Bible;
• 2. To The Holy Land;
• 3. Three Biblical Images;
• 4. The Attack On The Bible;
• 5. Conclusion; Notes; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W.

Mark Twain enthusiasts will welcome this study of the great writer's attitude toward the Bible-and of the influence of Holy Writ upon both the man and the artist. While the theological beliefs of Twain have been well documented, Mr. Ensor's study is the first to consider only his familiarity with the Bible and the extensive use of it in his writings. The Bible elicited by turns pious, skeptical, comical, and even hostile reactions in Twain, but he could not ignore it. Mr. Ensor examines manifestations of these conflicting impulses from the early newspaper articles to the autobiographical dictations; he suggests that from the Bible Twain may have derived three images that recur in his works: the Prodigal Son (Twain often saw himself in the Bad Boy pose); Adam (representing for Twain an unjust loss of innocence he shared with all mankind); and Noah (Twain saw himself as a prophet warning civilization of impending doom).
(source: Nielsen Book Data)

• Cover13;
• Contents
• Abbreviations
• Short Titles
• Introduction
• Chapter One Meeting Cl233; ment Marot
• 1.1 Until the Affaire des Placards (1534)
• 1.1.1 L8217; Enfer, a sermon from hell
• 1.1.2 Deploration de Florimond Robertet: a sermon by Death
• 1.1.3 A year of wonders (15338211; 34)
• 1.2 After the Affaire des Placards (15358211; 42)
• 1.2.1 Epistle to the King
• 1.2.2 A poem addressed to some very dear sisters
• 1.2.3 Janus-faced poems
• 1.2.4 Editing his Oeuvres, editing his image
• 1.2.5 A court poet in Geneva
• Chapter Two Tracing Marot8217; s Psalm Paraphrases, a Historical Survey
• 2.1 Psalm 6, a primordial paraphrase (before 1533)
• 2.2 Sounds of Silence (15348211; 41)
• 2.2.1 Literary references to Psalm paraphrases
• 2.2.2 Manuscripts and clandestine editions
• 2.3 Towards the first official edition of the Trente Pseaulmes
• 2.3.1 Three inter-related manuscripts (Vind. 2644, Ars. 3632, PM 218)
• 2.3.2 Trente Pseaulmes de David (Paris, E. Roffet, [1541])
• 2.3.3 Liturgical publications based on AN41 (Strasbourg and Geneva, 1542)
• 2.3.4 Relationship table of versions of the Trente Pseaulmes
• 2.4 The edition of Marot8217; s 50 Psalms
• 2.4.1 Trente deux Pseaulmes ... Plus vingt autres (Paris, E. Roffet, [1543])
• 2.4.2 [La Forme des prieres et chantz ecclesiastiques (Geneva, Girard, 1543)]
• 2.4.3 Cinquante Pseaumes ([Geneva, Jean Girard], 1543)
• 2.5 Summary and chronology of Marot8217; s Psalm project
• Chapter Three Translating the Psalms
• 3.1 Sixteenth-century views on translation
• 3.2 Marot8217; s Psalm translations
• 3.3 Exploring the field: pitfalls and possibilities
• 3.4 Fine-tuning the research question
• Chapter Four According to the 8216; Hebrew Truth8217;
• 4.1 Hebraica Veritas, a historical survey
• 4.1.1 Jerome8217; s Psalters
• 4.1.2 Hebraica Veritas and the Psalter translations in the sixteenth century
• 4.2 Hebraica Veritas and the text of Marot8217; s Psalm paraphrases
• 4.2.1 Reference group
• 4.2.2 Marot used 8216; a8217; Hebraicum
• 4.2.3 Marot used a modern Hebraicum
• 4.2.4 Did Marot use a scholarly Hebraicum?
• 4.2.5 Conclusion: Marot Hebraicus
• Chapter Five The Example of Psalm 4
• 5.1 The first version of Psalm 4 (AN41)
• 5.1.1 Narrative construction
• 5.2 The first revision of Psalm 4 (AN41>gt; gt; PA41)
• 5.2.1 The Argument
• 5.3 The last revision of Psalm 4 (PA41>gt; gt; GE43)
• Chapter Six Martin Bucer8217; s Hermeneutics
• 6.1 Marot8217; s use of Bucer8217; s Arguments
• 6.2 The hermeneutics underlying Bucer8217; s Psalms commentary
• 6.3 Did Marot abandon Bucer8217; s view on two occasions? (G. Defaux)
• 6.3.1 Psalm 2
• 6.3.2 Psalm 45
• 6.4 Hermeneutical consequences
• Chapter Seven The Burden of Christology, Psalms 8 and 110
• 7.1 Psalm
• 8: 8216; ab angelis8217; or 8216; a Deo8217;
• 7.1.1 Lef232; vre versus Erasmus
• 7.1.2 Marot and Psalm 8
• 7.1.3 Marot and Psalm
• 8: conclusion
• 7.2 Psalm
• 110: about Christ?
• 7.2.1 The Argument
• 7.2.2 The Psalm paraphrase
• 7.3 Conclusion: it8217; s Bucer again
• Chapter Eight Theological Idiom and Marot8217; s Language
• 8.1 The names of God
• 8.2 Religious idiom from the Psalter (I)
• 8.2.1 ch-s-j-d
• 8.2.2 ts-dd-j-q and r-sh-8219;
• 8.3 Religious idiom from the Psalter (II)
• 8.3.1 Salvation, 'Salut, ' and 'Secours' (j-sh-8219; )
• 8.

Famous mainly for his chansons and epigrams, the French poet Clement Marot (1496-1544) also supplied the texts for the Huguenot Psalter. Did he only paraphrase the Psalms to do Marguerite de Navarre, the leading lady of reform-oriented France, a favour, or was there more to it? This book offers a new approach to this question, which has got stuck in a yes-no discussion. A breakthrough is forced by the author's focussing on the Psalm paraphrases themselves, which until now have never actually been included in Marot research. Analysed from a multidisciplinary perspective the successive versions of these paraphrases reveal that Marot was interested in reaching a consistent, literary, and historically reliable versification of the Psalms, thus implicitly questioning the traditional christological exegesis. The author's perusal of Jewish exegetical insights (Kimhi, Ibn Ezra) in Martin Bucer's Commentary shows where Marot acquired a satisfactory hermeneutical framework.
(source: Nielsen Book Data)

• The child as Christian pilgrim in Oliver Twist and The old curiosity shop
• The mortal and immortal houses of Dombey and son
• Prodigal children and tearful reunions in David Copperfield
• Casting the first stone: judgment day in Bleak house
• 'Forgive us our debts as we forgive our debtors": indebtedness in Little Dorrit
• Allegory of the martyred savior in Hard times and A tale of two cities
• The good and faithful servant of Our mutual friend.

Charles Dickens once commented that in each of his Christmas stories there is 'an express text preached on . . . always taken from the lips of Christ.' This preaching, Linda M. Lewis contends, does not end with his Christmas stories but extends throughout the body of his work. In Dickens, His Parables, and His Reader, Lewis examines parable and allegory in nine of Dickens's novels as an entry into understanding the complexities of the relationship between Dickens and his reader. Through the combination of rhetorical analysis of religious allegory and cohesive study of various New Testament parables upon which Dickens based the themes of his novels, Lewis provides new interpretations of the allegory in his novels while illuminating Dickens's religious beliefs. Specifically, she alleges that Dickens saw himself as valued friend and moral teacher to lead his 'dear reader' to religious truth. Dickens's personal gospel was that behavior is far more important than strict allegiance to any set of beliefs, and it is upon this foundation that we see allegory activated in Dickens's characters. Oliver Twist and The Old Curiosity Shop exemplify the Victorian 'cult of childhood' and blend two allegorical texts: Jesus's Good Samaritan parable and John Bunyan's The Pilgrim's Progress. In Dombey and Son, Dickens chooses Jesus's parable of the Wise and Foolish Builders. In the autobiographical David Copperfield, Dickens engages his reader through an Old Testament myth and a New Testament parable: the expulsion from Eden and the Prodigal Son, respectively. Led by his belief in and desire to preach his social gospel and broad church Christianity, Dickens had no hesitation in manipulating biblical stories and sermons to suit his purposes. Bleak House is Dickens's apocalyptic parable about the Day of Judgment, while Little Dorrit echoes the line 'Forgive us our debts as we forgive our debtors' from the Lord's Prayer, illustrating through his characters that only through grace can all debt be erased. The allegory of the martyred savior is considered in Hard Times and A Tale of Two Cities. Dickens's final completed novel, Our Mutual Friend, blends the parable of the Good and Faithful Servant with several versions of the Heir Claimant parable. While some recent scholarship debunks the sincerity of Dickens's religious belief, Lewis clearly demonstrates that Dickens's novels challenge the reader to investigate and develop an understanding of New Testament doctrine. Dickens saw his relationship with his reader as a crucial part of his storytelling, and through his use and manipulation of allegory and parables, he hoped to influence the faith and morality of that reader.
(source: Nielsen Book Data)