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Sphinx is Imagination lighting up our blind senses. She corresponds to Aether, or Spiritual Insight (Buddhi-Manas) opened up. There are two Oedipodes, a Divine Oedipus, being a ray of pure mind self-exiled from its celestial abode. And a Worldly Oedipus, a reflection of the same ray imprisoned in an impure body. Both are sentenced to suffer conjointly on earth. Inspired by the Imagination and Will of Divine Oedipus, animal man begins awakening his higher faculties. If he succeeds, he will ascend from star to star, from one world to another, circling onward to rebecome the once pure planetary Spirit that he had started from. Bereft of Ariadne’s thread of philosophy, Worldly Oedipus remains spiritually blind and unlearned, unable to escape from the labyrinth of matter. Enmeshed in the darkness of duality, his unmastered passions condemn him to involuntary exile from the solidarity of the One — a perfect recipe for drama. Sphinx is the greatest mystery of past, present, and future initiations. How the tetrad changing into a duad is explained by the triad. Man’s clinging to the form allowed the idea to be forgotten. Sphinx is the living palladium of humanity. But she devours only blind interpreters.
Examines the way in which Sophocles' play "Oedipus Tyrannus" and its hero, Oedipus, King of Thebes, were probably received in their own time and place, and relates this to twentieth-century receptions and interpretations, including those of Sigmund Freud.
Boldly contesting recent scholarship, Sallis argues that The Birth of Tragedy is a rethinking of art at the limit of metaphysics. His close reading focuses on the complexity of the Apollinian/Dionysian dyad and on the crossing of these basic art impulses in tragedy. "Sallis effectively calls into question some commonly accepted and simplistic ideas about Nietzsche's early thinking and its debt to Schopenhauer, and proposes alternatives that are worth considering."—Richard Schacht, Times Literary Supplement
Berlinerblau (Judaic studies, Hofstra U.) explores the reactions--widely divergent but mostly intense--to Martin Bernal's 1987 publication of the first volume of Black Athena: The Afroasiatic Roots of Classical Civilization. In light of classicist reacting to an outsider's intrusion into their field and Afrocentrist accusation of stealing the material from black scholars, he considers the question of intellectual responsibility during an age of cultural warfare. He also elucidates the contents of the book itself. Annotation copyrighted by Book News, Inc., Portland, OR
Provides illuminating answers to many questions: why did Sophocles develop character-drawing? How and why does it differ from that of Aeschylus? Why are some of Euripides' plots so bad and others so good?
Lew Archer returns in this gripping mystery, widely recognized as one of acclaimed mystery writer Ross Macdonald's very best, about the search for the long lost heir of the wealthy Galton family. Almost twenty years have passed since Anthony Galton disappeared, along with a suspiciously streetwise bride and several thousand dollars of his family's fortune. Now Anthony's mother wants him back and has hired Lew Archer to find him. What turns up is a headless skeleton, a boy who claims to be Galton's son, and a con game whose stakes are so high that someone is still willing to kill for them. Devious and poetic, The Galton Case displays MacDonald at the pinnacle of his form.