Other tellings can be found under "all editions," each credited to its respective storyteller.

    The popularity of the book is so great that it has run into forty two impressions ever since it was originally published in the year 1951

    Reflecting his lifelong interest in Arthurian themes, his primary sources were Malory's Morte d'Arthur and the Welsh Mabinogion. For him, the Idylls embodied the universal and unending war between sense and soul, and Arthur the highest ideals of manhood and kingship; an attitude totally compatible with the moral outlook of his age. Poetically, Tennyson was heir to the Romantics, and Keats's influence in particular can be seen clearly in much of his work. Yet Tennyson's style is undoubtedly his own and he achieved a delicacy of phrase and subtlety of metrical effect that are unmatched. This edition, based on the text authorized by Tennyson himself, contains full critical apparatus.

    His own libretto to the operas, translated by Andrew Porter, is an intricate system of metric patterns, imaginative metaphors and alliteration,combining to produce the music in text.'Andrew Porter's utterly natural, often poetic, faithfully rendered English text should be a revelation...The immediacy of instant comprehension gives the entire drama an added dimension.'--The New York Times

    The story of the Cornish knight and the Irish princess who meet by deception, fall in love by magic, and pursue that love in defiance of heavenly and earthly law has inspired artists from Matthew Arnold to Richard Wagner. But nowhere has it been retold with greater eloquence and dignity than in Joseph Bédier’s edition, which weaves several medieval sources into a seamless whole, elegantly translated by Hilaire Belloc and Paul Rosenfeld.

    The desertion triggers a searing re-examination of his life—the loss of his sister during the war, the demands of his millionaire father and the hypocrisies of his mother, who first fought to “save” Germany from the Jews, then worked for “reconciliation” afterwards.

    Odin All Father crossed the Rainbow Bridge to walk among men in Midgard. Thor defended Asgard with his mighty hammer. Mischievous Loki was constantly getting into trouble with the other gods, and dragons and giants walked free. This collection of Norse sagas retold by author Padraic Colum gives us a sense of that magical time when the world was filled with powers and wonders we can hardly imagine.

    Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including0 suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Agamemnon is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Agamemnon is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.

    The bewitched Lucius passes from owner to owner - encountering a desperate gang of robbers and being forced to perform lewd 'human' tricks on stage - until the Goddess Isis finally breaks the spell and initiates Lucius into her cult. It has long been disputed whether Apuleius meant this last-minute conversion seriously or as a final comic surprise and the challenge of interpretation continues to keep readers fascinated. Apuleius' enchanting story has inspired generations of writers such as Boccaccio, Shakespeare, Cervantes and Keats with its dazzling combination of allegory, satire, bawdiness and sheer exuberance, and The Golden Ass remains the most continuously and accessibly amusing book to have survived from Classical antiquity.

    Hesiod's straightforward account of family conflict among the gods is the best and earliest evidence of what the ancient Greeks believed about the beginning of the world. Includes Hesiod's "Works and Days", lines 1-201, and material from the Library of Apollodorus.

    Folklorist Helene Adeline Guerber brings to life the gods and goddesses, giants and dwarves, and warriors and monsters of these stories in Tales of Norse Mythology. Ranging from the comic to the tragic, these leghends tell of passion, love, friendship, pride, courage, strength, loyalty, and betrayal.

    In the hands of Jean de Meun, who continued de Lorris's work, it assumed vast proportions and embraced almost every aspect of medieval life from predestination and optics, to the Franciscan controversy and the right way to deal with premature hair-loss.

    A monster seeks silence in his territory. A warrior seeks to avenge her murdered son. A dragon ends it all. These familiar components of the epic poem are seen with a novelist’s eye toward gender, genre, and history. Beowulf has always been a tale of entitlement and encroachment — of powerful men seeking to become more powerful and one woman seeking justice for her child — but this version brings new context to an old story. While crafting her contemporary adaptation, Headley unearthed significant shifts lost over centuries of translation; her Beowulf is one for the twenty-first century.

    With this volume, the holy trinity of fairy tales - the Brothers Grimm, Charles Perrault, and Hans Christian Andersen - becomes a quartet. In the 1850s, Franz Xaver von Schönwerth traversed the forests, lowlands, and mountains of northern Bavaria to record fairy tales, gaining the admiration of even the Brothers Grimm. Most of Schönwerth's work was lost - until a few years ago, when thirty boxes of manu­scripts were uncovered in a German municipal archive.Now, for the first time, Schönwerth's lost fairy tales are available in English. Violent, dark, and full of action, and upending the relationship between damsels in distress and their dragon-slaying heroes, these more than seventy stories bring us closer than ever to the unadorned oral tradition in which fairy tales are rooted, revolutionizing our understanding of a hallowed genre.

    Urushadze has also produced a popular anthology of Georgian poetry in English. Her preface explains the original metrical structure, which is so complex that sometimes it requires rhyming words to the fourth syllable. She also includes a brief list of Georgian words she retained, many of them names. An introduction by David M Lang (oriental and African studies, U. of London) puts Rustaveli and his poem in historical context. Annotation c. Book News, Inc., Portland, OR.