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.

    Shay examines the psychological devastation of war by comparing the soldiers of Homer's Iliad with Vietnam veterans suffering from post-traumatic stress disorder. Although the Iliad was written twenty-seven centuries ago it has much to teach about combat trauma, as do the more recent, compelling voices and experiences of Vietnam vets.

    His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought and literature. In What is Literature? Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write.

    Collections of interviews with notable modern writers

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    When Dionysus the Renegade faked a Sophocles text in 400 BC (cunningly inserting the acrostic “Heraclides is ignorant of letters”) to humiliate an academic rival, he paved the way for two millennia of increasingly outlandish literary hoaxers. The path from his mischievous stunt to more serious tricksters like the fake Howard Hughes “autobiography” by Clifford Irving, Oprah-duper James Frey, takes in every sort of writer: from the religious zealot to the bored student, via the vengeful academic and the out-and-out joker. But whether hoaxing for fame, money, politics, or simple amusement, each perpetrator represents something unique about why we write. Their stories speak volumes about how reading, writing, and publishing have grown out of the fine and private places of the past into big-business, TV-book-club-led mass-marketplaces which, some would say, are ripe for the ripping. For the first time, the complete history of this fascinating sub-genre of world literature is revealed. Suitable for bookworms of all ages and persuasions, this is true crime for people who don’t like true crime, and literary history for the historically illiterate. A treat to read right through or to dip into, it will make you think twice next time you slip between the covers of an author you don’t know . . . .

    Men who read it will surely learn much about themselves, and women—particularly those who are unfortunately misled into thinking of men as “the enemy”—will find it a real eye-opener.”—Ruth Tiffany Barnhouse, M.D., Th.M., Harvard UniversityRobert A. Johnson's classic work exploring the differences between man and woman, female and male—newly reissued.What does it really mean to be a man? What are some of the landmarks along the road to mature masculinity? And what of the feminine components of a man's personality? Women do not really know as much about men as they think they do. They have developed, over the centuries, considerable expertise in the technique of adapting to men, but that is not the same as truly understanding them. Women often labor under the delusion that life is really pretty easy for men, at least when compared to their own lot, and they have no idea what a complicated struggle is really involved in the transition from male childhood to real manhood.As timely today as when it was first published, He provides a fascinating look into male identity and how female dynamics influence men.

    There may be nothing in the poem that can quite touch the first two books of Paradise Lost for magnificence; but there are several things that may fairly be set beside almost anything in the last ten. The splendid "stand at bay" of the discovered tempter -- "'Tis true I am that spirit unfortunate" -- in the first book; his rebuke of Belial in the second, and the picture of the magic banquet (it must be remembered that, though it is customary to extol Milton's asceticism, the story of his remark to his third wife, and the Lawrence and Skinner sonnets, go the other way); above all, the panoramas from the mountaintop in the third and fourth; the terrors of the night of storm; the crisis on the pinnacle of the temple -- are quite of the best Milton, which is equivalent to saying that they are of the best of one kind of poetry.-- The Cambridge History of English and American Literature

    Anselmi covers the bands and musicians that have impacted those styles most―Black Sabbath, Candlemass, Melvins, Eyehategod, Godflesh, Neurosis, Saint Vitus, and many others―while diving into the cultural doom that has spawned such music, from the bombing of Birmingham and hurricane devastation of New Orleans to glaring economic inequality, industrial alienation, climate change, and widespread addiction. Along the way, Anselmi interweaves the musical experiences that have led him to proudly identify as one of the doomed.

    But it turns out we have only scratched the surface. Scholar David Day has spent many years down the rabbit hole of this children's classic and has emerged with a revelatory new view of its contents. What we have here, he brilliantly and persuasively argues, is a complete classical education in coded form--Carroll's gift to his "wonder child" Alice Liddell.      In two continuous commentaries, woven around the complete text of the novel for ease of cross-reference on every page, David Day reveals the many layers of teaching, concealed by manipulation of language, that are carried so lightly in the beguiling form of a fairy tale. These layers relate directly to Carroll's interest in philosophy, history, mathematics, classics, poetry, spiritualism and even to his love of music--both sacred and profane. His novel is a memory palace, given to Alice as the great gift of an education. It was delivered in coded form because in that age, it was a gift no girl would be permitted to receive in any other way.     Day also shows how a large number of the characters in the book are based on real Victorians. Wonderland, he shows, is a veritable "Who's Who" of Oxford at the height of its power and influence in the Victorian Age.     There is so much to be found behind the imaginary characters and creatures that inhabit the pages of Alice's Adventures in Wonderland. David Day's warm, witty and brilliantly insightful guide--beautifully designed and stunningly illustrated throughout in full colour--will make you marvel at the book as never before.From the Hardcover edition.

    Here are the gods of the Olympian pantheon. Here too are the demigods, demons, heroes, and many of the best-loved (as well as lesser-known) cycles, fables and nature myths. The entries, always readable and informative, convey the significance of Greek mythology and its place at the core of Western culture. They evoke the majesty, as well as the all-too-human foibles, of the Greek deities and their acolytes. Whether they find themselves caught up by the single combat of Hector and Achilles before the looming walls of Troy; or find themselves transported, like Odysseus, by the haunting song of the Sirens; or are thrilled by the quest of Jason and his Argonauts for the fabled Golden Fleece - enthusiasts of myth and ancient history will discover many richnesses to enjoy here. Gods, Demigods and Demons is both a helpful guide and a one-stop resource that can be consulted again and again. It will prove an indispensable companion to the world of the ancient Greeks and the gods they worshipped.

    This volume, containing Phoenician Women, Bacchae, Iphigenia at Aulis, Orestes, and Rhesuscompletes the new editions of Euripides in Penguin Classics.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    Whether it is the three headed guard dog Fluffy in J.K. Rowling’s Harry Potter series, or even the story of Smaug in J.R.R. Tolkien’s Middle Earth in The Hobbit; all these pop culture mythical creatures have a deep connection to the mythologies and folktales of ancient cultures.Where did they come from? What relevance do they serve in mythology? Why are some so obscure, while others become pop-culture enigmas? Get the answer to these questions, and learn about beasts from different world cultures.Folklorist Zayden Stone dives deep into the stories of these magical beasts and providesa fictional anecdote,a retelling of the original myths,an analysis of the symbolism and relevance of the creatures,and then pairs it with some beautiful black and white illustrations reimagined by artist Herdhian.In the Mythical Creatures and Mythological Beasts book, the illustrated guide takes you through six themes that have been specifically chosen since they are consistent across cultures. The categories include:arthropods for insects, crustaceans, and arachnids;avian for birds;canines for wolves and dogs;serpents for snakes and dragons;ungulates for hooved animals like horses and cows; andaquatic for water dwelling beasts.Presenting the creatures in categories makes it easier to see what the beasts have in common. You will find some overlapping themes across ancient cultures that point to universal ideas in how humans perceive the world.If you wonder where your favorite creature is, you will probably find them within these pages, even if they do not have their own chapter. For example, the ever-popular Pegasus can be found in the tale of the Gorgon sisters. He also had a half-brother, Arion, who features in the ungulates section. There is also a brilliant white-winged horse from Islamic tradition which may sound very familiar to Pegasus as well.If you have a love for the myths and want to learn about the unique beasts that dwell within them, this book is a great way to do it. Not only will you learn about ones you may have never heard of, but you will also be able to draw parallels between cultures and see how they interpreted their surroundings through stories of mythical creatures and magical beasts.

    Following an enormous personal tragedy, he sets out on an introspective journey to the Himalayas. He is questioning the purpose of life when he comes across a mysterious 110-years old man. Thereby starts a journey of learning, unlearning and un raveling the secrets of ancient Indian wisdom that teach you how to live a blessed life. Among them, is the quest to find the inner swastika -one that holds the truth of the physical, the metaphysical and beyond. WRITTEN AS A WORK OF FICTION BUT BASED ON A TRUE ACCOUNT, THIS IS AN ENGAGING STORY OF A MAN TRYING TO FIND HIMSELF