Rolle, Hilton, and more especially the _Ancren Riwle_, give examples of that custom of allegorical interpretation of Sacred Scriptures that has fascinated many mystical authors, but one can scarcely suppose that this method would ever have been a favourite one with Julian even if she had been in the way of dealing with literary parallels and references. For though she uses "examples," or illustrations (sometimes calling them "shewings," or "bodily examples") and also metaphorically figurative speech, she does not shew any interest in elaborate, arbitrary symbolism. At any rate she is too directly simple, it seems, and too much in the centre of realities, to be a writer that (without constraint of following the lines of others) would take as foundation for an argument or an exposition outward resemblances or verbal connections, fit perhaps to illustrate or enforce the truth in question, but lacking in relation to it that inward vital oneness whereby certain things that to man seem below him may become symbolic to him of others that he beholds as within or above him. Exposition by analysis has been reckoned to be characteristic of the Schoolmen rather than of the Mystics,[9] though surely a mystical sight may be served by an analytical process, and to see God in a part before or while He is seen in the whole is effected not without analysis of the subtlest kind. So we find analysis in Julian's sight (Rev. iii.): "_I saw God in a point_"; and in her conclusions from this: "_By which sight I saw that He is in all things_"; and in her immediate raising, from this conclusion, of the question: "_What is sin?_" and throughout her treatment of the problem in the scheme of her book. Even for the merely formal task of distinguishing by number, Julian, we see, will set briskly forward (though we may not feel much inclined to follow) and often she begins her careful dissections with: "In this I see"--four, five, or six things, as the case may be. Her speech of spiritual Revelations is, however, helped out less by numbers than by living and homely things of sight: the mother and the children and the nurse; lords and servants, kings and their subjects (with echoes of the language of Court and chivalry); the deep sea-ground, waters for our service; clothing, in its warmth, grace and colour; the light that stands in the night, the hazel-nut, the scales of herrings.[10]