In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

    Our language even has a word—Machiavellian—that encapsulates the images those responses conjure up: An indistinct figure quietly making his way through the darkest corridors of power, hatching plots to play one rival against another A cold-blooded political liar, ready to justify any duplicity undertaken in the name of a noble end that will ultimately justify the most malignant means A coolly practical leader—amoral at best—willing to do whatever is necessary in a world governed not by ideas of right or wrong, but by solutions dictated by realpolitik.But does the Machiavelli most of us think we know bear any resemblance to the Machiavelli who lived, pondered, and wrote?According to Professor William R. Cook, a reading of Machiavelli that considers only those qualities that we today call "Machiavellian" is incomplete, and Machiavelli himself "certainly would not recognize" such sinister interpretations or caricatures of his writings and beliefs. Indeed, The Prince—on the pages of which so much of this image was built—was not even published in his lifetime.In the 24 lectures that make up Machiavelli in Context, Professor Cook offers the opportunity to meet an extraordinarily thoughtful and sincere student of history and its lessons, and to learn that there is far more to him than can be gleaned from any reading of The Prince, no matter how thorough.Although The Prince is the work by which most of us think we know Machiavelli, and although some have indeed called it the first and most important book of political science ever written, it was not, according to Professor Cook, either Machiavelli's most important work or the one most representative of his beliefs. Those distinctions belong, instead, to his Discourses on the First Ten Books of Livy, a longer work started at about the same time and which would, like The Prince, not be published until well after his death."Everyone who has seriously studied the works of Machiavelli agrees that he ... believed in the superiority of a republican form of government, defined as a mixed constitution with elements of monarchy, aristocracy, and democracy."Once we recover the context of the writing of The Prince, and analyze it along with the Discourses on the First Ten Books of Livy, it will be clear how The Prince can be read as a book designed to guide leaders in the creation—for Machiavelli, restoration—of republican government in Italy."Ultimately, Machiavelli's goal wasn't much different from ours. It was to live in a free and equal participatory society, because he believed that was the greatest way in which human beings could live and flourish."In fact, says Professor Cook, "Machiavelli's republican thought influenced the development of institutions and values both in Europe and in America."To present a complete and well-rounded picture of Machiavelli's ideas on how human societies should be organized and governed, Professor Cook sets aside much of Machiavelli's written output—which included the political work The Art of War, a biography, many letters, and even some plays—to focus on The Prince, the Discourses, and, more briefly, his Florentine Histories.In doing so, Professor Cook draws on the same qualities so evident in his previous courses for The Teaching Company: Tocqueville and the American Experience, Dante's Divine Comedy, Francis of Assisi, and St. Augustine's Confessions.Teaching in the relaxed and informal style of those courses, Professor Cook moves easily among the different disciplines so pertinent to an understanding of Machiavelli's ideas, including history, philosophy, government, and the elements of leadership. He is unfailingly clear, always provides any definitions needed to understand the material at hand, and is always ready with a touch of wit whenever that is appropriate.Because so much of our contemporary misunderstanding of Machiavelli's ideas comes from a lack of context, Professor Cook carefully sets the stage for a complete perspective of Machiavelli's world.Long before he turns to the works themselves, you'll have learned about Florence and its political history, both before and during Machiavelli's lifetime; the developing Renaissance culture of Machiavelli's time, especially as it bears on the use of ancient political thought by writers and political leaders; and Machiavelli's own life story, including his education, service to the Florentine Republic, years spent in exile south of Florence, and the ways each period of his life affected his writings.The result is a thorough grounding in the information one needs to understand and appreciate this stunningly original thinker.You'll learn, for example, what Machiavelli means when he discusses the important ideas of virtù and Fortuna.Though these are today invariably translated as virtue and fortune, Machiavelli's meanings can involve much more. Though he sometimes uses virtù in the sense we would understand today, he often uses the word—which comes from the classical Latin word for Man—as a means of describing the way one practices successful statecraft: aggressively, with no reluctance to use lies, deceit, and cruelty that may be required to maintain power, and hence the stability the people deserve.In a similar way Machiavelli uses Fortuna in a different sense than might have been used by, say, Dante when he describes the vagaries of fate over which we have no control.Instead, Machiavelli uses the adage, "Fortune is like a river." Though we cannot control fortune, which may well choose to make the river flood, a good ruler, practicing virtù, can indeed prepare for it, and thus modify its effects.You'll see how Machiavelli first became exposed to history and one of its earliest great practitioners—the Roman historian, Livy—through his own experience of Fortuna.Though printed books such as Livy's Early History of Rome were too expensive for a family like the young Machiavelli's in the 15th century, his father did own a copy. He had written the index, and a copy of the book had been part of his payment. Thus Machiavelli grew up with the volumes about which he would one day write his own most important work, Discourses on the First Ten Books of Livy.You'll be introduced to Cesare Borgia, the son of Pope Alexander VI and the man regarded as Machiavelli's model for The Prince, especially in the way his actions embodied the virtù so important to Machiavelli.Professor Cook brings this out in a shocking story of Borgia's use of a tough and merciless Spaniard—Ramiro d'Orco—to impose order and stability on the area of north central Italy known as the Romagna that had come under Borgia's rule and was beset by crime and violence.D'Orco's brutal methods had the desired effect. And when the job was completed, the local people emerged from their homes one morning to find the two halves of Ramiro d'Orco's body on opposite sides of the town square of Cesana, because d'Orco had been too tough, and Cesare Borgia needed a way to advertise further his concern for the people whose loyalty he wanted.The story also embodies, for Machiavelli, the idea that cruelty can be "well-used," just as being merciful—withholding such cruelty when a leader deems it needed—may be less than merciful in its long-term impact.Finally, you will get to see, throughout these lectures, the development of Machiavelli's reliance on history for its lessons, his role as a Renaissance Humanist thinker, and the emergence of his republican views, which still have tremendous influence today as we ask how republics start, grow, succeed, or fail.As Professor Cook notes, we are not going to agree with all of Machiavelli's answers. But his commitment to asking the right questions—to thinking, reflecting, and learning everything history has to teach us about the best ways to govern and safeguard the future—was total.

    The poems speak intimately of their authors' sexual longing, fulfillment and disillusionment.

    Originally conceived for the Vienna Poetry Festival (1998) and performed to great success and a capacity audience at The Royal Festival Hall, London earlier in 1999, this is a special studio recording. It includes five new and unique recordings of his songs 'West Country Girl', 'People Ain't no Good', 'Sad Waters', 'Love Letter', and 'Far From Me'. The Word Made Flesh is a wholly spoken-word piece, re-recorded, originally conceived and executed for the BBC Religious Services Department in 1996.

    It is the central work in the literature of the Kabbalah, the Jewish mystical tradition. This volume of selected passages from the Zohar, culled by the greatest authority on Jewish mysticism, offers a sampling of its unique vision of the esoteric wonders of creation; the life and destiny of the soul; the confluence of physical and divine love; suffering and death; exile and redemption.

    They are best known as the "Four Branches of the Mabinogi," and comprise the tales of Pwyll, Branwen, Manawydan, and Math. The remaining stories also spring from the same tree, and together they form a collection that comprises the core of the ancient Welsh mythological cycle. They are also among the best the medieval Celtic literature has to offer.In the first thoroughly revised edition and translation of this world classic since Lady Charlotte Guest's famous Mabinogion went out of print, Mr. Ford has endeavored to present a scholarly document in readable, modern English. Basing his criteria on the latest scholarship in myth, he includes only those stories that have remained unadulterated by the influence of the French Arthurian romances. These are, in addition to the "Four Branches," the tale of "Kulhwch and Olwen," which is rooted in the mythological origins of Arthur, seen here in his role of divine hunter in pursuit of the swine-god; "Lludd and Lleuelis," which reaches beyond its immediate Celtic sources into ancient Indo-European ideologies; and the long unavailable "Tale of Taliesin," which offers insights into Celtic concepts of the archetypal poet-seer and the acquisition of Divine Wisdom.

    Because those wobbly stones are only inches above the quotidian rush, what’s jotted there has an immediacy that is intimate and close to life. Kooser, winner of the Pulitzer Prize and a former U.S. poet laureate, has filled scores of workbooks. The Wheeling Year offers a sequence of contemplative prose observations about nature, place, and time arranged according to the calendar year. Written by one of America’s most beloved poets, this book is published in the year in which Kooser turns seventy-five, with sixty years of workbooks stretching behind him.

    More than 9,000 pages and 30 volumes--here abridged to one volume, and translated into English for the first time--it contains entries on everything from medieval moon-worshiping cults, sexual aphrodisiacs, and the substance of clouds, to how to get the smell of alcohol off one's breath, the deliciousness of cheese made from buffalo milk, and the nesting habits of flamingos.Similar works by Western authors, including Pliny's Natural History, have been available in English for centuries. This ground-breaking translation of a remarkable Arabic text--expertly abridged and annotated--offers a look at the world through the highly literary and impressively knowledgeable societies of the classical Islamic world. Meticulously arranged and delightfully eclectic, it is a compendium to be treasured--a true monument of erudition.

    It’s about you looking at yourself and finding ways to learn how to grow as an individual. I cannot tell you every single step you should take to get you to where you are trying to go in life. But what I can do is make sure you have enough confidence to trust your own judgments, regardless of past mistakes. I want you to understand that it’s okay to be exactly where you are right now, whether you are single or in a relationship. Appreciate where your journey is taking you, but be able to identify areas that need to change. I want you to read this book and have a better understanding of the present. I want you to know that trying to get it right is a constant process. We never arrive at a place of knowing it all. For as long as we are alive, we are challenged to grow, learn, evolve, and mature. Love is a decision, not a destination. It’s not something you stumble upon. You must choose to walk in it, give to it, and become it. Each of us travels a different path to find the love we are searching for. Some find what they are looking for instantly, while others must jump over a few hurdles before realizing they have finally found something special. In essence, we are all just working towards what we believe we deserve— our fair chance at love and happiness.

    Brain-dead for sight, speech and movement, yet hopelessly alive to pain, hunger and terror, she now lies, barely alive, in the hospital where she once treated patients back to health. Virani's investigations also unearthed the crowning tragedy: while Aruna has been in coma for over twenty-five years, her rapist, a sweeper in the hospital, walked a free man after a mere seven years in prison for 'robbery and attempt to murder'. Vivid and gut-wrenching, this is a book that will haunt the reader long after the final page has been turned. 'Pinki Virani has narrated Aruna's brutalization through meticulous and persistent research. The structure of the book is notable in the way it resists sensationalism.' --The Telegraph 'Virani's book is researched, thought-provoking, sharp. It is both sad and angry, scathing and restrained.' --Pioneer '...her storytelling skil

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    It represents the ideal of an unattainable yet infinitely desirable goal, the possibility of perfection. Initially conceived in literature, it became a Christian icon which has been re-created in a multitude of forms over time even though the Grail has no specific material attributes or true religious significance.Richard Barber traces the history of the legends surrounding the Holy Grail, beginning with Chretien de Troyes's great romances of the twelfth century and the medieval Church's religious version of the secular ideal. He pursues the myths through Victorian obsessions and enthusiasms to the popular bestsellers of the late twentieth century that have embraced its mysteries. Crisscrossing the borders of fiction and spirituality, the quest for the Holy Grail has long attracted writers, artists, and admirers of the esoteric. It has been a recurrent theme in tales of imagination and belief which have laid claim to the highest religious and secular ideals and experiences. From Lancelot to Parsifal, chivalric romances to Wagner's Ring, T. S. Eliot to Monty Python, the Grail has fascinated and lured the Western imagination from beyond the reach of the ordinary world.

    It is based primarily on the 538-line Middle English poem Sir Landevale, which in turn was based on Marie de France's lai Lanval, written in a form of French understood in the courts of both England and France in the 12th century. Sir Launfal retains the basic story told by Marie de France and retold in Sir Landevale, augmented with material from an Old French lai Graelent and a lost romance that possibly featured a giant named Sir Valentyne. This is in line with Thomas Chestre's eclectic way of creating his poetry.In the tale, Sir Launfal is propelled from wealth and status – the steward at King Arthur's court – to being a pauper and a social outcast. He is not even invited to a feast in his home town of Caerleon in South Wales when the king visits, although Arthur knows nothing of this. Out in the forest alone, he meets with two damsels who take him to their mistress, the daughter of the King of Faerie. She gives him untold wealth and a magic bag in which money can always be found, on the condition that he becomes her lover. She will visit him whenever he wants and nobody will see her or hear her. But he must tell nobody about her, or her love will vanish at that instant.The story of a powerful (fairy) woman who takes a lover on condition that he obey a particular prohibition is common in medieval poetry: the French lais of Desiré, Graelant, and Guingamor, and Chrétien de Troyes's romance Yvain, the Knight of the Lion, all share similar plot elements. The presence of a Land of Faerie, or an Otherworld, betrays the story's Celtic roots. A final court scene may be intended by Chestre as criticism of the contemporary legal and judicial framework in late-fourteenth century England.[4] The equation of money with worth in the tale may satirize a late-fourteenth century bourgeois mentality.

    In the years (and decades) that followed, Granta established itself as the one of the most prestigious literary publications in the English-speaking world. In that time Granta has published 26 Nobel Prize for Literature winners, defined new literary genres and paved the way for generations of young novelists. To celebrate forty years of brilliant publishing, Granta 147 brings together our best fiction and non-fiction from the last four decades, along with a selection of letters from behind the scenes. This will be a collector's issue and is not to be missed.Featuring...Angela CarterKazuo IshiguroTodd McEwenBruce ChatwinJames FentonPrimo LeviAmitav GhoshRaymond CarverPhilip RothJohn Gregory DunneRyszard KapuscinskiJoy WilliamsJohn BergerGabriel García MárquezBill BufordLindsey HilsumLorrie MooreHilary MantelIan JackEdward SaidDiana AthillEdmund WhiteVed MehtaAdrian LeftwichAlexandra FullerBinyavanga WainainaMary GaitskillLydia DavisJeanette WintersonHerta Müller

    Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.