The Lost Girls analyses a number of British writers between 1850 and 1930 for whom the myth of Demeter’s loss and eventual recovery of her cherished daughter Kore-Persephone, swept off in violent and catastrophic captivity by Dis, God of the Dead, had both huge personal and aesthetic significance. This book, in addition to scrutinising canonical and less well-known texts by male authors such as Thomas Hardy, E. M. Forster, and D. H. Lawrence, also focuses on unjustly neglected women writers – Mary Webb and Mary Butts – who utilised occult tropes to relocate themselves culturally, and especially in Butts’s case to recover and restore a forgotten legacy, the myth of matriarchal origins. These novelists are placed in relation not only to one another but also to Victorian archaeologists and especially to Jane Ellen Harrison (1850-1928), one of the first women to distinguish herself in the history of British Classical scholarship and whose anthropological approach to the study of early Greek art and religion both influenced – and became transformed by – the literature. Rather than offering a teleological argument that moves lock-step through the decades, The Lost Girls proposes chapters that detail specific engagements with Demeter-Persephone through which to register distinct literary-cultural shifts in uses of the myth and new insights into the work of particular writers.
52 readings, each with a scripture passage and prayer, from one of our most loved and respected Christian leaders and speakers. Each reading contains a story, often startling and arresting, from Andrew’s astonishingly eventful ministry, blended with his reflections on life and faith.
The Lost Girls analyses a number of British writers between 1850 and 1930 for whom the myth of Demeter's loss and eventual recovery of her cherished daughter Kore-Persephone, swept off in violent and catastrophic captivity by Dis, God of the Dead, had both huge personal and aesthetic significance. This book, in addition to scrutinising canonical and less well-known texts by male authors such as Thomas Hardy, E. M. Forster, and D. H. Lawrence, also focuses on unjustly neglected women writers – Mary Webb and Mary Butts – who utilised occult tropes to relocate themselves culturally, and especially in Butts's case to recover and restore a forgotten legacy, the myth of matriarchal origins. These novelists are placed in relation not only to one another but also to Victorian archaeologists and especially to Jane Ellen Harrison (1850-1928), one of the first women to distinguish herself in the history of British Classical scholarship and whose anthropological approach to the study of early Greek art and religion both influenced – and became transformed by – the literature. Rather than offering a teleological argument that moves lock-step through the decades,The Lost Girls proposes chapters that detail specific engagements with Demeter-Persephone through which to register distinct literary-cultural shifts in uses of the myth and new insights into the work of particular writers.
The Homeric Hymn to Aphrodite, which tells of the seduction of the shepherd Anchises by the love-goddess Aphrodite, has long been recognized as a masterpiece of early Western literature. This edition is designed as a reference tool to aid scholars and students in their study of the poem. The introduction and commentary deal with points of language appropriate to the specialist or student of Greek, but also with matters of literary interpretation of interest to the non-specialist reader.
She’s beautiful. And she knows it. Persephone is the embodiment of all that is Woman. Grace, poise, power, looks. Men and women alike fall over themselves to be near her. The obedient and dutiful daughter of the Great Goddess Demeter. But behind that perfect façade, Persephone has a most evil plan. And what she will do, and who she will use to achieve it will shock the Ancient World. The story of a foolish, young boy with dreams of bigger things for his life and his enduring and troublesome obsession to help his beloved, Tales of the Bacchae: Queen of the Dead is a fast-paced retelling of childhood myths that will lead the reader on a romp through the mortal realm and the deep, dark caverns of the ancient Underworld. Meeting friends and enemies along the way, we watch for what it will take to defeat the cunning desires of one of the most ruthless beings the world has ever seen.
When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with EuropeanMärchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis—“I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks. “The deeds of men” were chanted by heroes, as by Achilles; stories were told in alternate verse and prose; girls, like Homer’s Nausicaa, accompanied dance and ball play, priests and medicine-men accompanied rites and magical ceremonies by songs. These practices are world-wide, and world-old. The thoroughly popular songs, thus evolved, became the rude material of a professional class of minstrels, when these arose, as in the heroic age of Greece. A minstrel might be attached to a Court, or a noble; or he might go wandering with song and harp among the people. In either case, this class of men developed more regular and ample measures. They evolved the hexameter; the laisse of the Chansons de Geste; the strange technicalities of Scandinavian poetry; the metres of Vedic hymns; the choral odes of Greece. The narrative popular chant became in their hands the Epic, or the mediaeval rhymed romance. The metre of improvised verse changed into the artistic lyric. These lyric forms were fixed, in many cases, by the art of writing. But poetry did not remain solely in professional and literary hands. The mediaeval minstrels and jongleurs (who may best be studied in Léon Gautier’s Introduction to his Epopées Françaises) sang in Court and Camp. The poorer, less regular brethren of the art, harped and played conjuring tricks, in farm and grange, or at street corners. The foreign newer metres took the place of the old alliterative English verse. But unprofessional men and women did not cease to make and sing.
Aristotle is known as a philosopher and as a theorist of poetry, but he was also a composer of songs and verse. This is the first comprehensive study of Aristotle's poetic activity, interpreting his remaining fragments in relation to the earlier poetic tradition and to the literary culture of his time. Its centerpiece is a study of the single complete ode to survive, a song commemorating Hermias of Atarneus, Aristotle's father-in-law and patron in the 340's BCE. This remarkable text is said to have embroiled the philosopher in charges of impiety and so is studied both from a literary perspective and in its political and religious contexts. Aristotle's literary antecedents are studied with an unprecedented fullness that considers the entire range of Greek poetic forms, including poems by Sappho, Pindar, and Sophocles, and prose texts as well. Apart from its interest as a complex and subtle poem, the Song for Hermias is noteworthy as one of the first Greek lyrics for which we have substantial and early evidence for how and where it was composed, performed, and received. It thus affords an opportunity to reconstruct how Greek lyric texts functioned as performance pieces and how they circulated and were preserved. The book argues that Greek lyric poems profit from being read as scripts for performances that both shaped and were shaped by the social occasions in which they were performed. The result is a thorough and wide-ranging study of a complex and fascinating literary document that gives a fuller view of literature in the late classical age.
As well as editing the famous Fairy Books, Andrew Lang created a diverse oeuvre of short story collections, novels, poetry and a scholarly corpus of essays and non-fiction books. This Delphi edition offers a comprehensive range of Lang’s prolific works, with thousands of beautiful illustrations, as well as the usual bonus texts. (Current version: 2) * the complete Fairy Books, all fully-illustrated with their original Victorian artwork – first time in digital print * special contents table for the Fairy Books * ALL the novels, with contents tables * images of how the books first appeared, giving your eReader a taste of the Victorian texts * many short story collections, with beautiful illustrations * ARABIAN NIGHTS fully illustrated – first time in digital print * 13 poetry collections, with contents tables and illustrations * special chronological and alphabetical contents tables for the poetry – find that special poem quickly and easily! * features 29 non-fiction books, each with contents tables * includes two biographical essays on Lang – explore the writer’s literary life! * many images relating to Lang’s life and works * scholarly ordering of texts in chronological order and literary genres, allowing easy navigation around Lang’s immense oeuvre CONTENTS: The Fairy Books THE BLUE FAIRY BOOK THE RED FAIRY BOOK THE GREEN FAIRY BOOK THE YELLOW FAIRY BOOK THE PINK FAIRY BOOK THE GREY FAIRY BOOK THE VIOLET FAIRY BOOK THE CRIMSON FAIRY BOOK THE BROWN FAIRY BOOK THE ORANGE FAIRY BOOK THE OLIVE FAIRY BOOK THE LILAC FAIRY BOOK The Fairy Tales LIST OF THE TALES IN CHRONOLOGICAL ORDER LIST OF THE TALES IN ALPHABETICAL ORDER Other Story Collections MUCH DARKER DAYS IN THE WRONG PARADISE AND OTHER STORIES HE THE GOLD OF FAIRNILEE PRINCE PRIGIO THE TRUE STORY BOOK PRINCE RICARDO OF PANTOUFLIA ANGLING SKETCHES THE BOOK OF DREAMS AND GHOSTS ARABIAN NIGHTS THE DISENTANGLERS THE RED TRUE STORY BOOK TALES OF TROY AND GREECE THE ANIMAL STORY BOOK THE BOOK OF ROMANCE THE RED ROMANCE BOOK THE RED BOOK OF HEROES by Mrs. Lang TALES OF ROMANCE THE STRANGE STORY BOOK by Mrs. Lang The Novels THE MARK OF CAIN THE WORLD’S DESIRE PARSON KELLY The Poetry Collections BALLADS, LYRICS, AND POEMS OF OLD FRANCE THE ODYSSEY THEOCRITUS BION AND MOSCHUS BALLADS IN BLUE CHINA HELEN OF TROY THE ILIAD RHYMES A LA MODE AUCASSIN AND NICOLETE A COLLECTION OF BALLADS GRASS OF PARNASSUS BAN AND ARRIERE BAN THE NURSERY RHYME BOOK NEW COLLECTED RHYMES The Poetry LIST OF POEMS IN CHRONOLOGICAL ORDER LIST OF POEMS IN ALPHABETICAL ORDER The Non-Fiction OXFORD THE LIBRARY and many more - too many to list The Biographies ANDREW LANG by Edmund Gosse SPENCER WALPOLE AND ANDREW LANG by Horace G. Hutchinson
Written by Andrew Jack, the Moscow Bureau Chief of the Financial Times, here is a revealing look at the meteoric rise of Vladimir Putin and his first term as president of Russia. Drawing on interviews with Putin himself, and with a number of the country's leading figures, as well as many ordinary Russians, Jack describes how the former KGB official emerged from the shadows of the Soviet secret police and lowly government jobs to become the most powerful man in Russia. The author shows how Putin has defied domestic and foreign expectations, presiding over a period of strong economic growth, significant restructuring, and rising international prestige. Yet Putin himself remains a man of mystery and contradictions. Personally, he is the opposite of Boris Yeltsin. A former judo champion, he is abstemious, healthy, and energetic, but also evasive, secretive, and cautious. Politically, he has pursued a predominantly pro-western foreign policy and liberal economic reforms, but has pursued a hardline war in Chechnya and introduced tighter controls over parliament and the media and his opponents, moves which are reminiscent of the Soviet era. Through it all, Putin has united Russian society and maintained extraordinarily high popularity. Jack concludes that Putin's "liberal authoritarianism" may be unpalatable to the West, but is probably the best that Russia can do at this point in her history. Inside Putin's Russia digs behind the rumors and speculation, illuminating Putin's character and the changing nature of the Russia he rules. Andrew Jack sheds light on Putin's thinking, style and effectiveness as president. With Putin's second term just beginning, this invaluable book offers important insights for anyone interested in the past, present, and future of Russia.
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