Abstract
This article focuses mainly on the presence of allegorical figures in Ramon Llull’s Arbre de filosofia d’amor (Tree of philosophy of love). Being acquainted with Parisian literary trends, he exploits their metaphorical resources to compensate for the technical nature of the combinatorial method and uses beautiful images to support the constant metaphysical abstraction. If he is meticulous in developing his philosophical system, then he is just as meticulous in setting out the figures that should make his writing attractive. In fact, the allegory and arboreal symbolism in his work have a rigorous arrangement that increases their aesthetic value and permits him, once the theological or philosophical structure of reference is identified, to indulge in the highest lyricism
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