Alan S. Fredrick summarizes missing episodes and includes a translation of 'The Tale of Tristan's Madness.'One of the earliest extant versions of the Tristan and Yseut story, Beroul's French manuscript of The Romance of Tristan dates back to the middle of the twelfth century. It recounts the legend of Tristan, nephew of King Mark of Cornwall, and the king's Irish wife Yseut, who fall passionately in love after mistakenly drinking a potion. Their illicit romance remains secret for many years, but the relentless suspicion of the king's barons and the fading effects of the magic draught eventually lead to tragedy for the lovers. While Beroul's work emphasizes the impulsive and often brutal behaviour of the characters, its sympathetic depiction of two people strug1150gling against their destiny is one of the most powerful versions of this enduringly popular legend.

    Like his other works, Arms and the Man questions conventional values and uses war and love as his satirical targets.This edition of Arms and the Man is in the form of a paperback book.

    This edition also includes a new introduction and suggestions for further reading by author and Shelley expert Charlotte Gordon, literary excerpts and reviews selected by Gordon and a chronology and essay by preeminent Shelley scholar Charles E. Robinson.

    The time is World War II. The family is the Macauley's -- a mother, sister, and three brothers whose struggles and dreams reflect those of America's second-generation immigrants.. In particular, fourteen-year-old Homer, determined to become one of the fastest telegraph messengers in the West, finds himself caught between reality and illusion as delivering his messages of wartime death, love, and money brings him face-to-face with human emotion at its most naked and raw. Gentle, poignant and richly autobiographical, this delightful novel shows us the boy becoming the man in a world that even in the midst of war, appears sweeter, safer and more livable than out own.

    We meet the Greek gods on Olympus and Norse gods in Valhalla. We follow the drama of the Trojan War and the wanderings of Odysseus. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works of art, literature, and cultural inquiry--from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra. Praised throughout the world for its authority and lucidity, Mythology is Edith Hamilton's masterpiece--the standard by which all other books on mythology are measured.

    In a relaxed and humorous tone, these splendid artists bring to life the myths that have inspired great European literature and art through the ages, creating a book readers of all ages will cherish."For any child fortunate enough to have this generous book...the kings and heroes of ancient legend will remain forever matter-of-fact; the pictures interpret the text literally and are full of detail and witty observation."--The Horn  Book"The drawings, particularly the full-page ones in this oversized volume, are excellent  and excitingly evocative."--The New  York Times"Parents, uncles, and aunts who have been searching for a big picture book that has good reading-aloud value for the younger ones and fine read-it-yourself value on up, have it in this volume...a children's classic."--Christian Science Monitor

    The manner is what Goethe called 'a cultured comic language'-a genre which he regarded as not possible in Geman and which he felt Byron managed superbly.

    Breaking the well-established routine of his daily life, he immediately sets off for Dover with his astonished valet Passepartout. Passing through exotic lands and dangerous locations, they seize whatever transportation is at hand—whether train or elephant—overcoming set-backs and always racing against the clock.

    He knows nothing of the outside world. But when he is given the chance to escape, he seizes it. With his vengeful enemies hot on his heels, David struggles to cope in this strange new world, where his only resources are a compass, a few crusts of bread, his two aching feet, and some vague advice to seek refuge in Denmark. Is that enough to survive? David's extraordinary odyssey is dramatically chronicled in Anne Holm's classic about the meaning of freedom and the power of hope.

    Horace Gregory, in this modern translation, turns his poetic gifts toward a deft reconstruction of Ovid's ancient themes, using contemporary idiom to bring today's reader all the ageless drama and psychological truths vividly intact. --From the book jacket

    For the Fourth Edition, the editor has collated the 1847 text with several modern editions and has corrected a number of variants, including accidentals. The text is accompanied by entirely new explanatory annotations.New to the fourth Edition are twelve of Emily Bronte's letters regarding the publication of the 1847 edition of Wuthering Heights as well as the evolution of the 1850 edition, prose and poetry selections by the author, four reviews of the novel, and poetry selections by the author, four reviews of the novel, and Edward Chitham's insightful and informative chronology of the creative process behind the beloved work.Five major critical interpretations of Wuthering Heights are included, three of them new to the Fourth Edition. A Stuart Daley considers the importance of chronology in the novel. J. Hillis Miller examines Wuthering Heights's problems of genre and critical reputation. Sandra M. Gilbert assesses the role of Victorian Christianity plays in the novel, while Martha Nussbaum traces the novel's romanticism. Finally, Lin Haire-Sargeant scrutinizes the role of Heathcliff in film adaptations of Wuthering Heights. A Chronology and updated Selected Bibliography are also included.

    Having given up hope of survival, he finds himself waking up beside a warm fire with the man, Arthur Pendragon, and his dog, Bercelet, who have rescued him. Arthur tells him the incredible story of his life while the seawater dries out of boy's clothes. His tale begins with his legendary pulling of the sword from the stone, his leadership of an army to defeat the Saxons and his celebrated court at Camelot. From then on, he tells of the great and tragic love between himself, Guinevere and Lancelot and the numerous deeds and adventures of the knights of the Round Table. Finally, the curse of Morgana Le Fey come true and Arthur's son, Mordred, kills him, but not before he can watch Bedivere return Excalibur to the Lady of the Lake. After the wonders of the story, the boy returns home, looking forward to surprising his family with his adventure - but time in the cave where Arthur hibernates until it is time for him to rule again has stood still, and the boy's family have not even noticed he was gone.

    English versions of Sophocles’ three great tragedies based on the myth of Oedipus, translated for a modern audience by two gifted poets.

    She has nothing to sell except her only treasure--her long, beautiful brown hair. Set in New York at the turn of the twentieth century, this classic piece of American literature tells the story of a young couple and the sacrifices each must make to buy the other a gift. Beautiful, delicate watercolors by award-winning illustrator Lisbeth Zwerger add new poignancy and charm to this simple tale about the rewards of unselfish love.

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.