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.

    Princes Rama and Laksham are duty-bound to take command and, in a world enshrouded by darkness, are mankind's last beacons of hope.

    It has the distinction of being the first English "novel," far surpassing in narrative sophistication such immediate predecessors as Elyot's Image of Governance or Borde's Scoggin's Jests. This edition, besides providing a modernized text of the novel, also identifies the pseudonymous author of Beware the Cat as William Baldwin, better known as editor and principal author of the enormously popular Mirror for Magistrates (1559). The development of early English prose fiction is thoroughly documented in two informative and wide-ranging appendices. William Baldwin's place in this tradition, as well as his innovative narrative art, is discussed in the introduction, which also provides biographical information on the author, historical background to his novel, and insight into the political and religious turmoil of the middle years of the sixteenth century.

    This novel is a fictionalized autobiography of the author's boyhood in the the countryside of Provence, told through the eyes of a child.

    

    At the same time they are intended to reach other levels.

    The Mahabharata story is removed from its mythological elements and the whole theme and characters are placed in the historical time of 12th century B.C in India. Bhyrappa spent five years in researching the social, economic and cultural details of the period.

    Self-discovery in a convent leads her to her confessor, Father Dirrag, and she is soon launched upon the path of reason that convinces her that passion and love of the Deity are equal gifts of God. With additional mentors, Therese learns that sensations are but a part of temperament, as natural as hunger and thirst, and all may be satisfied as long as it does not harm others.

    It follows Parzival from his boyhood and career as a knight in the court of King Arthur to his ultimate achievement as King of the Temple of the Grail, which Wolfram describes as a life-giving Stone. As a knight serving the German nobility in the imperial Hohenstauffen period, the author was uniquely placed to describe the zest and colour of his hero's world, with dazzling depictions of courtly luxury, jousting and adventure. Yet this is not simply a tale of chivalry, but an epic quest for spiritual education, as Parzival must conquer his ignorance and pride and learn humility before he can finally win the Holy Grail.

    Drawing on the West African Yoruba oral folktale tradition, Tutuola described the odyssey of a devoted palm-wine drinker through a nightmare of fantastic adventure. Since then, The Palm-Wine Drinkard has been translated into more than 15 languages and has come to be regarded as a masterwork of one of Africa's most influential writers. Tutuola's second novel, My Life in the Bush of Ghosts, recounts the fate of mortals who stray into the world of ghosts, the heart of the tropical forest. Here, as every hunter and traveler knows, mortals venture at great peril, and it is here that a small boy is left alone.

    It contains the earliest and most comprehensive collection of Fenian stories and poetry, intermingling the contemporary Christian world of Saint Patrick with his scribes; clerics; occasional angels and souls rescued from Hell; the earlier pagan world of the ancient, giant Fenians and Irish kings; and the parallel, timeless Otherworld (peopled by ever-young, shape-shifting fairies). This readable, lucid new translation is based on existing manuscript sources and is richly annotated, complete with an Introduction discussing the place of the Acallam in Irish tradition and the impact of the Fenian or Ossianic tradition on English and European literature."

    They face fantastic foes, demons and monsters during their amazing adventures traveling to the Western paradise. More than anything else, though, the Monkey King loved mischief and rule–breaking, and was sure he was the most powerful creature in the world.But after defeat and punishment for his tricks, the Monkey King found himself wanting some things he never expected: to be disciplined and good enough to help the monk Hsuan Zhang on his mission to bring Buddhist Scriptures—and enlightenment—to China.Readers of all ages will thrill to Timothy Richard's retelling of the Monkey King's exploits—whether in the Dragon King's underwater castle, the Halls of the Dead or the palace of Buddha himself—and find themselves captivated as the Monkey King joins Hsuan Zhang and their companions the Dragon Horse, the Monk Sand and the equally mischievous Pig on the dangerous trek West. Despite the tale's ancient origins, Journey to the West proves as fresh and engaging an adventure as anything written today.

    The poetry is effervescent as it is spontaneous gush of thoughts, rhythmic and the lyrical measures delight the reader and bound him to read till it ends.

    It is also the newest classic in the canon of world literature. Lost for centuries to the sands of the Middle East but found again in the 1850s, it tells the story of a great king, his heroism, and his eventual defeat. It is a story of monsters, gods, and cataclysms, and of intimate friendship and love. Acclaimed literary historian Michael Schmidt provides a unique meditation on the rediscovery of Gilgamesh and its profound influence on poets today.Schmidt describes how the poem is a work in progress even now, an undertaking that has drawn on the talents and obsessions of an unlikely cast of characters, from archaeologists and museum curators to tomb raiders and jihadis. Fragments of the poem, incised on clay tablets, were scattered across a huge expanse of desert when it was recovered in the nineteenth century. The poem had to be reassembled, its languages deciphered. The discovery of a pre-Noah flood story was front-page news on both sides of the Atlantic, and the poem's allure only continues to grow as additional cuneiform tablets come to light. Its translation, interpretation, and integration are ongoing.In this illuminating book, Schmidt discusses the special fascination Gilgamesh holds for contemporary poets, arguing that part of its appeal is its captivating otherness. He reflects on the work of leading poets such as Charles Olson, Louis Zukofsky, and Yusef Komunyakaa, whose own encounters with the poem are revelatory, and he reads its many translations and editions to bring it vividly to life for readers.

    The noble prince, accompanied by his brother Lakshmana and wife Sita, leaves for the forests. When Sita is abducted by Ravana, the demon-king of Lanka, it triggers off a series of events starting with the search for her and culminating in the cataclysmic battle between Rama and Ravana. What unfolds in between is a remarkable tale of divine reincarnations, fierce demons, powerful kings, magical weapons and amazing creatures ? all woven into the extraordinary and keystone Indian epic of good and evil, love and enmity, boons and curses, hardship and destiny. These retelling of the Ramayana, written especially for young readers by the inimitable Upendrakishore Ray Chowdhury, and checked and proofed originally by none other than Rabindranath Tagore.