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Love, desire, and beauty are intimately connected in Greek and Roman mythology, dominating the lives of gods and mortals. The texts that focus on these themes ? Homer?s Iliad and Odyssey, Ovid?s Metamorphoses, and Virgil?s Aeneid, among many others ? were revered by Renaissance and Baroque artists, who aimed to represent them in a powerfully expressive manner.00This fully illustrated catalogue offers a detailed study of mythological paintings by Titian, Veronese, Allori, Rubens, Ribera, Poussin, Van Dyck, and Velázquez. Inspired in some cases by a desire to emulate and in others by a sense of rivalry, these artists were responsible for the creation of a fascinating interpretative sequence that reflects the adaptability of the mythological tradition and its potential for constant renewal.00Exhibition: Museo del Prado, Madrid, Spain (02.03.-04.07.2021).
Reproduction of the original: 1000 Mythological Characters by Edward S. Ellis
*** Illustrated Premium Edition ***Since the Greeks and Romans were not among those who received the divine story of creation, they were forced to devise a theory to explain their own existence and account for the origin of all things. The foundation of this theory lay in the marvelous phenomena of nature around them. The growth of the mighty tree from the tiny seed, the bursting bud and blossom, thechanging hues and the fragrance of flowers, the alternation of day and night, the flash of the rock-rending lightning, the rage of the tempest, the flow of the rivers; the towering mountains, the lovely valleys; dew, rain, the clouds, and the ever-shifting panorama on every hand; the majestic sweep of the blazing worlds through spaceThese finally became crystallized into a literature, or mythology, which has since been the inspiration alike of romancers and poets.Published in 1895, 1000 Mythological Characters Briefly Described is an alphabetical book containing various creatures, people and gods from mythology.
There are many expressions which, though simple in themselves, must forever remain beyond the grasp of human comprehension. Eternity, that which has neither end nor beginning, baffles the most profound human thought. It is impossible to think of a point beyond which there is absolutely nothing, or to imagine the passing of a million years without bringing us one day or one minute nearer to their close. Suppose that one could fix upon the terminal point, we would still fancy something beyond that, and then some period still more remote would present itself, and so on ad infinitum. The same insurmountable difficulty confronts us when we seek to imagine a First Cause. God was the beginning, and yet it seems to our finite minds, that something must have brought Him into existence, and we conclude that back again of that creating Power must have been another originating cause, and perhaps still another, and so on without limitation. And yet we know that there must have been a period when everything was void, or, in other words, when there was nothing. In the awful grandeur of that loneliness, desolation, and chaos, God we know, however, existed and called the universe into being. All that we, in our present finite condition, can ever comprehend of that stupendous birth is contained in the opening of the first chapter of Genesis. That is the story of the creation as told by God Himself to His chosen people, the Hebrews, they alone being selected from the nations then existing upon the earth to receive the wonderful revelation.
Reprint of the original, first published in 1883.
Although Pedro Calderón de la Barca was one of the greatest and most prolific playwrights of Spain's Golden Age, most of his nonallegorical comedias—118 in all—have remained unknown. Robert ter Horst presents here the first full-length study of these works, a sustained, meditative analysis dealing with more than 80 plays, conveying a sense of the whole of Calderón's secular theater. To approach so vast a body of literature, Mr. ter Horst examines the meaning and function in Calderón of three broad subjects—myth, honor, and history—the warp threads across which the playwright weaves a subtle tapestry of contrasts, dualities, and conflicts: the private person versus the public person, the inner realm versus the outer, masculine against feminine, poet against prince. The Calderón who emerges is a consciously consummate artist whose lifelong study was the passions of the human mind and body. In addition, he is seen as a synthesizer of his Spanish literary heritage and especially as a brilliant adapter of Cervantes' insights to the stage. Robert ter Horst's profound and far-ranging analysis sheds light on many fine works previously neglected and finds new depths in such supreme achievements as No hay cosa como callar, El segundo Escipión, and La vida es suefio.
Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
Reprint of the original, first published in 1871.
WINNER OF THE ORANGE PRIZE FOR FICTION 2012 Greece in the age of heroes. Patroclus, an awkward young prince, has been exiled to the court of King Peleus and his perfect son Achilles. Despite their differences, Achilles befriends the shamed prince, and as they grow into young men skilled in the arts of war and medicine, their bond blossoms into something deeper - despite the displeasure of Achilles's mother Thetis, a cruel sea goddess. But when word comes that Helen of Sparta has been kidnapped, Achilles must go to war in distant Troy and fulfill his destiny. Torn between love and fear for his friend, Patroclus goes with him, little knowing that the years that follow will test everything they hold dear.
An abridged reprint of the Doubleday edition of 1976, with new preface and conclusion by the author.