Finally, Frye proposes an anagogic phase wherein a symbol is treated as a monad. The anagogic level of medieval allegory treated a text as expressing the highest spiritual meaning. For example, Dante's Beatrice in the Divine Comedy would represent the bride of Christ. Frye makes the argument that not only is there a lateral connection of archetypes through intertextuality, but that there is a transcendent almost spiritual unity within the body of literature. Frye describes the anagogic in literature as "the imitation of infinite social action and infinite human thought, the mind of a man who is all men, the universal creative word which is all words."
In his later " coney-catching " pamphlets, Greene fashioned himself into a well-known public figure, telling colourful inside stories of rakes and rascals duping young gentlemen and solid citizens out of their hard-earned money. These stories, told from the perspective of a repentant former rascal, have been considered autobiographical, and have been thought to incorporate many facts of Greene's own life thinly veiled as fiction: his early riotous living, his marriage and desertion of his wife and child for the sister of a notorious character of the London underworld, his dealings with players, and his success in the production of plays for them. However, according to Newcomb, in his later prose works 'Greene himself built his persona around a myth of prodigal decline that cannot be taken at face value'.  His plays earned himself the title as one of the ‘University Wits’, including George Peele, Thomas Nashe, and Christopher Marlowe.