Two different versions of the play were published in the Jacobean era, several years later. The powerful effect of early productions of the play is indicated by the legends that quickly accrued around them—that actual devils once appeared on the stage during a performance, "to the great amazement of both the actors and spectators", a sight that was said to have driven some spectators mad.

    In course of time ice piled over the Well, and out of it grew something they called Ymir, the father of the terrible Frost Giants. Ymir was fed on the milk of a magic cow who licked the ice, and with it salt from the Well of Life. As she licked with her tongue, she formed the first of the gods, the Ǣsir, who was called Buri. Buri had a son Borr, and Borr was the father of Odin. Odin and his brothers overcame the ice and frost giants. They thrust Ymir down into the Yawning Void, and of his body they made the world we live in. They set the sea in a ring about the world, and planted the World Tree, the Ash Yggdrasill, to hold it in place. From this making of the world, to Ragnarok, the last Great Battle, Roger Lancelyn Green tells the story in one continuous narrative. It is easy to read, and there is a clear rhythm carrying through to the final climax. He has taken his material from original sources, of which he gives a brief account in his foreword. “The interest in these myths often preceded reading abilty, but this telling will be found good to read aloud, and boys and gtirls from 10 up will easily manage it for themselves. “

    "The empire, long divided, must unite; long united, must divide. Thus it has ever been." With this characterization of the inevitable cycle of Chinese history, the monumental tale Three Kingdoms begins. As important for Chinese culture as the Homeric epics have been for the West, this Ming Dynasty masterpiece continues to be read and loved throughout China as well as in Japan, Korea, and Vietnam. The novel offers a startling and unsparing view of how power is wielded, how diplomacy is conducted, and how wars are planned and fought; it has influenced the ways that Chinese think about power, diplomacy, and war even to this day.Three Kingdoms portrays a fateful moment at the end of the Han Dynasty (206 B.C.-A.D. 220) when the future of the Chinese empire lay in the balance. Writing more than a millennium later, Luo Guanzhong drew on often told tales of this turbulent period to fashion a sophisticated compelling narrative, whose characters display vivid individuality and epic grandeur.The story begins when the emperor, fearing uprisings by peasant rebels known as the Yellow Scarves, sends an urgent appeal to the provinces for popular support. In response, three young men - the aristocratic Liu Xuande, the fugitive Lord Guan, and the pig-butcher Zhang Fei - meet to pledge eternal brotherhood and fealty to their beleaguered government. From these events comes a chain of cause and consequence that leads ultimately to the collapse of the Han.

    The book is a frame narrative primarily depicting a fictional island society as described by the character Raphael Hythloday who lived there some years, who describes and its religious, social and political customs.

    Philosophers such as Emerson and the other New England Transcendentalists were deeply affected by its insights, a dozen or more scholars, including Annie Besant and Mahatma Gandhi, have attempted its translation, and thousands of individuals struggling with the problems divided loyalties have found comfort and wisdom in its pages.The Bhagavadgita ("Song of the Lord") tells of the young and virtuous Prince Arjuna who is driven to lead his forces into battle against an opposing army composed of close relatives and others whom he loves. The Lord Krsna, appearing in the poem as Arjuna's friend and charioteer, persuades him that he must do battle, and we see Arjuna changing from revulsion at the thought of killing members of his family to resignation and awareness of duty, to manly acceptance of his role as warrior and defender of his kingdom.The Bhagavadgita is a self-contained episode in the Mahabharata, a vast collection of epics, legends, romances, theology, and metaphysical doctrine that reflects the history and culture of the whole of Hindu civilization. The present edition forms a part of J. A. B. van Buitenen's widely acclaimed translation of this great work. Here English and Sanskrit are printed on facing pages, enabling those with some knowledge of Sanskrit to appreciate van Buitenen's accurate rendering of the intimate, familial tone and directness of the original poem.

    Here are Icarus flying too close to the sun, mighty Hercules, Achilles and that darn heel, the Trojans and their wooden horse, brave Perseus and beautiful Andromeda, wandering Odysseus and steadfast Penelope. Their stories and the stories of the powerful gods and goddesses who punish and reward, who fall in love with and are enraged by the humans they have created, are set forth simply but movingly, in language that retains the power and drama of the original works by Aeschylus, Sophocles, Euripides, and Homer. In Gustav Schwab’s masterful retelling, they are made accessible to readers of all ages.Part of the Pantheon Fairy Tale and Folklore Library

    As you’d expect from Daniel McCoy, the creator of the enduringly popular website Norse Mythology for Smart People, it’s written to scholarly standards, but in a simple, clear, and entertaining style that’s easy to understand and a pleasure to read. It includes gripping retellings of no less than 34 epic Norse myths – more than any other book in the field – while also providing an equally comprehensive overview of the fascinating Viking religion of which Norse mythology was a part. You’ll learn about the Vikings’ gods and goddesses, their concept of fate, their views on the afterlife, their moral code, how they thought the universe was structured, how they practiced their religion, the role that magic played in their lives, and much more. With its inclusion of the latest groundbreaking research in the field, The Viking Spirit is the ultimate introduction to the timeless splendor of Norse mythology and religion for the 21st Century.

    And Burton Watson's lucid and beautiful translation has been loved by generations of readers.Chuang Tzu (369?-286? B.C.) was a leading philosopher representing the Taoist strain in Chinese thought. Using parable and anecdote, allegory and paradox, he set forth, in the book that bears his name, the early ideas of what was to become the Taoist school. Central to these is the belief that only by understanding Tao (the Way of Nature) and dwelling in its unity can man achieve true happiness and freedom, in both life and death.Chuang Tzu: Basic Writings includes the seven "inner chapters," which form the heart of the book, three of the "outer chapters," and one of the "miscellaneous chapters." Watson also provides an introduction, placing the philosopher in relation to Chinese history and thought.Witty and imaginative, enriched by brilliant imagery, and making sportive use of both mythological and historical personages (including even Confucius), this timeless classic is sure to appeal to anyone interested in Chinese religion and culture.

    Providing vital evidence of the views of the Greek philosophers of the Hellenistic age, Cicero also casts light on the intellectual life of first-century Rome. When these Greek beliefs are translated into the Roman context they result in a fascinating clash of ideologies.This new translation of a work whose importance is becoming increasingly recognized is complemented by an invaluable introduction to the main philosophical issues, as well as substantial and helpful annotation.

    Explore the mythologies of Europe, the Americas, Asia, Africa, and the Middle East. Learn what makes these stories so important, distinctive, and able to withstand the test of time. Discover how, despite geographical implausibilities, many myths from across the oceans share themes, morals, and archetypes.Listening Length: 31 hours and 35 minutes

    Here, in this compelling assembly of writings, Pulitzer Prize-winning author Annie Dillard explores the world of natural facts and human meanings.

    Now, in Egyptian Mythology, Geraldine Pinch offers a comprehensive introduction thatuntangles the mystery of Egyptian Myth.Spanning Ancient Egyptian culture--from 3200 BC to AD 400--Pinch opens a door to this hidden world and casts light on its often misunderstood belief system. She discusses the nature of myths and the history of Egypt, from the predynastic to the postpharaonic period. She explains how Egyptian culturedeveloped around the flooding of the Nile, or the inundation, a phenomenon on which the whole welfare of the country depended, and how aspects of the inundation were personified as deities. She explains that the usually cloudless skies made for a preoccupation with the stars and planets. Indeed, much early Egyptian mythology may have developed to explain the movement of these celestial bodies. She provides a timeline covering the seven stages in the mythical history of Egypt and outlining the major events of each stage, such as the reign of the sun God. A substantial A to Z section coversthe principal themes and concepts of Egyptian mythology as well as the most important deities, demons, and other characters. For anyone who wants to know about Anubis, the terrifying canine god who presided over the mummification of bodies and guarded burials, or Hathor, the golden goddess whohelped women to give birth and the dead to be reborn, or an explanation of the nun, the primeval ocean from which all life came, Egyptian Mythology is the place to look.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    It is both witness and tribute to the late theory of mind—the so-called structural theory, with its stress on aggression, indeed the death drive, as the pitiless adversary of eros.Civilization and Its Discontents is one of the last of Freud's books, written in the decade before his death and first published in German in 1929. In it he states his views on the broad question of man's place in the world, a place Freud defines in terms of ceaseless conflict between the individual's quest for freedom and society's demand for conformity.Freud's theme is that what works for civilization doesn't necessarily work for man. Man, by nature aggressive and egotistical, seeks self-satisfaction. But culture inhibits his instinctual drives. The result is a pervasive and familiar guilt.Of the various English translations of Freud's major works to appear in his lifetime, only one was authorized by Freud himself: The Standard Edition of the Complete Psychological Works of Sigmund Freud under the general editorship of James Strachey.Freud approved the overall editorial plan, specific renderings of key words and phrases, and the addition of valuable notes, from bibliographical and explanatory. Many of the translations were done by Strachey himself; the rest were prepared under his supervision. The result was to place the Standard Edition in a position of unquestioned supremacy over all other existing versions.

    Tezuka evidences his profound grasp of the subject by contextualizing the Buddha’s ideas; the emphasis is on movement, action, emotion, and conflict as the prince Siddhartha runs away from home, travels across India, and questions Hindu practices such as ascetic self-mutilation and caste oppression. Rather than recommend resignation and impassivity, Tezuka’s Buddha predicates enlightenment upon recognizing the interconnectedness of life, having compassion for the suffering, and ordering one’s life sensibly. Philosophical segments are threaded into interpersonal situations with ground-breaking visual dynamism by an artist who makes sure never to lose his readers’ attention.Tezuka himself was a humanist rather than a Buddhist, and his magnum opus is not an attempt at propaganda. Hermann Hesse’s novel or Bertolucci’s film is comparable in this regard; in fact, Tezuka’s approach is slightly irreverent in that it incorporates something that Western commentators often eschew, namely, humor.