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.

    He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.

    A cumulative rhyme relating how Ki-pat brought rain to the drought-stricken Kapiti Plain. Verna Aardema has brought the original story closer to the English nursery rhyme by putting in a cumulative refrain and giving the tale the rhythm of “The House That Jack Built.”

    Dawood in Penguin Classics.The tales told by Scheherazade over a thousand and one nights to delay her execution by the vengeful King Shahryar have become among the most popular in both Eastern and Western literature. From the epic adventures of 'Aladdin and the Enchanted Lamp' to the farcical 'Young Woman and her Five Lovers' and the social criticism of 'The Tale of the Hunchback', the stories depict a fabulous world of all-powerful sorcerers, jinns imprisoned in bottles and enchanting princesses. But despite their imaginative extravagance, the Tales are also anchored to everyday life by their bawdiness and realism, providing a full and intimate record of medieval Eastern world.In this selection, N.J. Dawood presents the reader with an unexpurgated translation of the finest and best-known tales, preserving their spirited narrative style in lively modern English. In his introduction, he discusses their origins in the East and their differences from Classical Arabic literature, and examines English translations of the tales since the eighteenth century.If you enjoyed Tales from the Thousand and One Nights, you might like Snorri Sturlson's The Prose Edda, also available in Penguin Classics.

    Here is Eve brought to life in a way religion and myth have never allowed–as a wife, a mother, and a woman. With stunning intimacy, Elliott boldly reimagines Eve’s journey before and after the banishment from Eden, her complex marriage to Adam, her troubled relationship with her daughters, and the tragedy that would overcome her sons, Cain and Abel. From a woman’s first awakening to a mother’s innermost hopes and fears, from moments of exquisite tenderness to a climax of shocking violence, Eve explores the very essence of love, womanhood, faith, and humanity.

    Chesterton starts with in this classic exploration of human history. Responding to the evolutionary materialism of his contemporary (and antagonist) H.G. Wells, Chesterton in this work affirms human uniqueness and the unique message of the Christian faith. Writing in a time when social Darwinism was rampant, Chesterton instead argued that the idea that society has been steadily progressing from a state of primitivism and barbarity towards civilization is simply and flatly inaccurate. "Barbarism and civilization were not successive stages in the progress of the world," he affirms, with arguments drawn from the histories of both Egypt and Babylon. As always with Chesterton, there is in this analysis something (as he said of Blake) "very plain and emphatic." He sees in Christianity a rare blending of philosophy and mythology, or reason and story, which satisfies both the mind and the heart. On both levels it rings true. As he puts it, "in answer to the historical query of why it was accepted, and is accepted, I answer for millions of others in my reply; because it fits the lock; because it is like life." Here, as so often in Chesterton, we sense a lived, awakened faith. All that he writes derives from a keen intellect guided by the heart's own knowledge.

    In Francis Schaeffer's remarkable analysis, we learn where the clashing ideas about God, science, history and art came from and where they are going. Now this completely retypeset edition includes a new introduction by James W. Sire that places Schaeffer's seminal work in the context of the intellectual turbulence of the early twenty-first century. More than ever, The God Who Is There demonstrates how historic Christianity can fearlessly confront the competing philosophies of the world. The God who has always been there continues to provide the anchor of truth and the power of love to meet the world's deepest problems.

    She struggles for survival and for self-esteem, embarking on a love affair with the 18-year-old son of her most powerful opponent, brutal and charismatic rancher, Buck Calder.

    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. “

    Yeats took a particular interest in the tales' mythic and magical roots. The Celtic Twilight ventures into the eerie and puckish world of fairies, ghosts, and spirits. "This handful of dreams," as the author referred to it, first appeared in 1893, and its title refers to the pre-dawn hours, when the Druids performed their rituals. It consists of stories recounted to the poet by his friends, neighbors, and acquaintances. Yeats' faithful transcription of their narratives includes his own visionary experiences, appended to the storytellers' words as a form of commentary.

    At the heart of his ever-relevant inquiry is the inescapable conflict in the West between marriage and passion—the first associated with social and religious responsiblity and the second with anarchic, unappeasable love as celebrated by the troubadours of medieval Provence. These early poets, according to de Rougemont, spoke the words of an Eros-centered theology, and it was through this "heresy" that a European vocabulary of mysticism flourished and that Western literature took on a new direction.Bringing together historical, religious, philosophical, and cultural dimensions, the author traces the evolution of Western romantic love from its literary beginnings as an awe-inspiring secret to its commercialization in the cinema. He seeks to restore the myth of love to its original integrity and concludes with a philosophical perspective on modern marriage.

    There is no more proper instrument of analysis of our contemporary myths than this book—one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, and happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked.What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize–winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic—a lesson in clairvoyance that is more relevant now than ever.

    Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.

    'All for Love' is a collection of brief quotations by many hands, chosen and illustrated with exquisite wit by Laura Stoddart.Here the raptures of love are counter-balanced by the rueful, comic, and often rather crisply cynical observations of men and women who have been there before. Divided into sections on the nature of love, the pursuit of love, love and marriage and the love affair, the book ranges from the passionate to the severely practical. We can smile at the silliness of those blinded by love (Shakespeare), feel a pang of heartache for jilted lovers (Dorothy Parker) reflect with Byron that there is little to be said about a happy marriage, and take note of P G Wodehouse advising girls that chumps make the best husbands, while relishing snatches of great poetry about great loves, from Sappho, Marlowe, Wordsworth, John Clare and Thomas Hardy.'All for Love' is a rare treat for everyone who is in love, contemplating marriage, has a broken heart, or has put the whole business behind them, and wants to be cheered up by some brilliant insights and by Laura Stoddart's enchanting visual comments on them.

    In this classic book, Madeleine L'Engle addresses the questions, What makes art Christian? What does it mean to be a Christian artist? What is the relationship between faith and art? Through L'Engle's beautiful and insightful essay, readers will find themselves called to what the author views as the prime tasks of an artist: to listen, to remain aware, and to respond to creation through one's own art.