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A soldier/scholar vividly describes the conditions for Elizabethan soldiers and how they wrote about their deployments.
A riveting history of the epic orbital flight that put America back into the space race. If the United States couldn’t catch up to the Soviets in space, how could it compete with them on Earth? That was the question facing John F. Kennedy at the height of the Cold War—a perilous time when the Soviet Union built the wall in Berlin, tested nuclear bombs more destructive than any in history, and beat the United States to every major milestone in space. The race to the heavens seemed a race for survival—and America was losing. On February 20, 1962, when John Glenn blasted into orbit aboard Friendship 7, his mission was not only to circle the planet; it was to calm the fears of the free world and renew America’s sense of self-belief. Mercury Rising re-creates the tension and excitement of a flight that shifted the momentum of the space race and put the United States on the path to the moon. Drawing on new archival sources, personal interviews, and previously unpublished notes by Glenn himself, Mercury Rising reveals how the astronaut’s heroics lifted the nation’s hopes in what Kennedy called the "hour of maximum danger."
Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today's audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references. Mythological figures, creatures, places and stories crowd Shakespeare's plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare's spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.
Shakespeare and the Gods examines Shakespeare's many allusions to six classical gods (Jupiter, Diana, Venus, Mars, Hercules and Ceres) that enhance his readers' and audiences' understanding and enjoyment of his work. Vaughan explains their historical context, from their origins in ancient Greece to their appropriation in Rome and their role in medieval and early modern mythography. The book also illuminates Shakespeare's classical allusions by comparison to the work of contemporaries like Edmund Spenser, Ben Jonson and Thomas Heywood and explores allusive patterns that repeat throughout Shakespeare's canon. Each chapter concludes with a more focused reading of one or two plays in which the god appears or serves as an underlying motif. Shakespeare and the Gods highlights throughout the gods' participation in western constructions of gender as well as classical myth's role in changing attitudes toward human violence and sexuality.