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When Iris Greenwold receives a copy of "Bulfinch's Mythology" for her 12th birthday, she discovers that all of the ancient gods are living in the greater Philadelphia area.
'A valuable tool on how to develop a relationship with the Goddess of Rainbows, Iris. With historic sources, how to work the colors of the rainbow, and how to create rituals in her mighty name, this book will open your eyes and soul to this Messenger of the Gods.' Jennifer Teixeira - Author of Pagan Portals: Temple of the Bones; Rituals to the Goddess Hekate Iris, the Goddess of the Rainbow, is an often-overlooked goddess in Greek mythology. As a messenger, she offers us the words and wisdom of the gods, traveling between worlds to tell us what we need to know. In Pagan Portals - Iris Goddess of the Rainbow and Messenger of the Godds, we will explore the mysterious Iris, following the colors of her magick to inspire our lives.
"I was living in a fairy story--the kind with sinister overtones and not always a happy ending--in which a young man loves a beautiful maiden who returns his love but is always disappearing into some unknown and mysterious world, about which she will reveal nothing." So John Bayley describes his life with his wife, Iris Murdoch, one of the greatest contemporary writers in the English-speaking world, revered for her works of philosophy and beloved for her incandescent novels. In Elegy for Iris, Bayley attempts to uncover the real Iris, whose mysterious world took on darker shades as she descended into Alzheimer's disease. Elegy for Iris is a luminous memoir about the beauty of youth and aging, and a celebration of a brilliant life and an undying love.
Iris has a rainbow of colorful experiences, from visiting the Underworld to conversing with her crush in this Goddess Girls adventure. Iris is the most colorful goddess girl at Mount Olympus Academy. In fact, her hair and delicate wings can change color according to her mood! When Principal Zeus entrusts her with the job of fetching some magic water, Iris is tickled pink—until she realizes she’ll have to get the water from the gray, gloomy River Styx in the Underworld! And when Iris figures out how to create magical rainbow slides that will allow her to travel from Mount Olympus to Earth and back in a flash, she suddenly becomes a messenger in high demand. All the while, Iris wonders whether her crush, Zephyrus, has caught wind of her infatuation, or if he’s into her BFF instead. Either way, Iris is determined she won’t go green with envy!
Reproduction of the original: Gods and Heroes by R.E Francillon
In Homer and the Epic, ten or twelve years ago, I examined the literary objections to Homeric unity. These objections are chiefly based on alleged discrepancies in the narrative, of which no one poet, it is supposed, could have been guilty. The critics repose, I venture to think, mainly on a fallacy. We may style it the fallacy of "the analytical reader." The poet is expected to satisfy a minutely critical reader, a personage whom he could not foresee, and whom he did not address. Nor are "contradictory instances" examinedÑthat is, as Blass has recently reminded his countrymen, Homer is put to a test which Goethe could not endure. No long fictitious narrative can satisfy "the analytical reader." The fallacy is that of disregarding the Homeric poet's audience. He did not sing for Aristotle or for Aristarchus, or for modern minute and reflective inquirers, but for warriors and ladies. He certainly satisfied them; but if he does not satisfy microscopic professors, he is described as a syndicate of many minstrels, living in many ages. In the present volume little is said in defence of the poet's consistency. Several chapters on that point have been excised. The way of living which Homer describes is examined, and an effort is made to prove that he depicts the life of a single brief age of culture. The investigation is compelled to a tedious minuteness, because the points of attackÑthe alleged discrepancies in descriptions of the various details of existenceÑare so minute as to be all but invisible. The unity of the Epics is not so important a topic as the methods of criticism. They ought to be sober, logical, and self-consistent. When these qualities are absent, Homeric criticism may be described, in the recent words of Blass, as "a swamp haunted by wandering fires, will o' the wisps."
For years, Alfred Ludens has pursued mathematician and philosopher Marcus Vallar in the belief that he possesses a profound metaphysical formula, a missing link of great significance to mankind. Luden's friends are more sceptical. Jack Sheerwater, painter, thinks Marcus is crazy. Gildas herne, ex-preist, thinks he is evil. Patrick Fenman, poet, is dying because he thinks Marcus has cursed him. Marcus has disappeared and must be found. But is he a genius, a hero struggling at the bounds of human knowledge? Is he seeking God, or is he just another victim of the Holocaust, which casts its shadow upon him and upon Ludens, both of them Jewish? Can human thinking discover the foundations of human consciousness? Iris Murdoch's endlessly inventive imagination has touched a fundamental question of our time.
Throughout history, the human quest for knowledge of the divine, has ruffled the wings of many an angel, but also tested the wrath of the demon. This book not traces the history of angels and demons from their earliest roots to their modern day renaissance, but also reveals their most intimate secrets. Whether through personal stories, literature, myth, religion or art, this book is the story of how belief in angels and demons has cast a powerful spell over the popular imagination.
The essays in Between Orality and Literacy address how oral and literature practices intersect as messages, texts, practices, and traditions move and change, because issues of orality and literacy are especially complex and significant when information is transmitted over wide expanses of time and space or adapted in new contexts. Their topics range from Homer and Hesiod to the New Testament and Gaius’ Institutes, from epic poetry and drama to vase painting, historiography, mythography, and the philosophical letter. Repeatedly they return to certain issues. Writing and orality are not mutually exclusive, and their interaction is not always in a single direction. Authors, whether they use writing or not, try to control the responses of a listening audience. A variable tradition can be fixed, not just by writing as a technology, but by such different processes as the establishment of a Panhellenic version of an Attic myth and a Hellenistic city’s creation of a single celebratory history.