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As the harsh winds hold the Greek fleet trapped in the straits at Aulis waiting to sail toTroy, frustration and political impotence turn into a desire for the blood of a young and innocent woman.
A brilliant retelling of an ancient myth, The Songs of the Kings offers up a different narrative of the Trojan War, one devoid of honor, wherein the mission to rescue Helen is a pretext for plundering Troy of its treasures. As the ships of the Greek fleet find themselves stalled in the straits at Aulis, waiting vainly for the gods to deliver more favorable winds, Odysseus cynically advances a call for the sacrifice of Agamemnon’s daughter, Calchas the diviner interprets events for the reader, and a Homer-like figure called the Singer is persuaded to proclaim a tale of a just war to hide the corrupt motivations of those in power. But couched within the Singer’s spin is a message at once timely and timeless: “There is always another story. But it is the stories told by the strong, the songs of kings, that are believed in the end.”
"Ancestors, Kings, and the Dao outlines the evolution of musical performance in early China, first within and then ultimately away from the socio-religious context of ancestor worship. Examining newly discovered bamboo texts from the Warring States period, Constance A. Cook compares the rhetoric of Western Zhou (1046–771 BCE) and Spring and Autumn (770–481 BCE) bronze inscriptions with later occurrences of similar terms in which ritual music began to be used as a form of self-cultivation and education. Cook’s analysis links the creation of such classics as the Book of Odes with the ascendance of the individual practitioner, further connecting the social actors in three types of ritual: boys coming of age, heirs promoted into ancestral government positions, and the philosophical stages of transcendence experienced in self-cultivation. The focus of this study is on excavated texts; it is the first to use both bronze and bamboo narratives to show the evolution of a single ritual practice. By viewing the ancient inscribed materials and the transmitted classics from this new perspective, Cook uncovers new linkages in terms of how the materials were shaped and reshaped over time and illuminates the development of eulogy and song in changing ritual contexts."
This study of the rainmakers of the Nilotic Sudan means a breakthrough in anthropological thinking on African political systems. Taking his inspiration from Rene Girard's theory of consensual scapegoating the author shows that the long standing distinction of states and stateless societies as two fundamentally different political types does not hold. Centralized and segmentary systems only differ in the relative emphasis put on the victimary role of the king as compared with that of enemy victims. Kings of Disaster so proposes an uninvolved solution to the vexed problem of regicide. Recent cases occurring during the great drought of the mid-1980's are discribed and analyzed. Making simultaneous use of first-hand field data and archival sources, the book offers the first presentation of five Nilotic communities on the East Bank of the Nile. This study offers a new perspective on the role of violence in the structuring of society.
A persuasive account, in brief compass, of the dramatic flow of the Song of Songs. Many sensitive observations on the imagery of the songs are presented in the form of a running commentary. The author offers his own original verse translation of the fourteen poems.
He was a great and brave king who conquered and ruled three adjacent lands. One day, he divided and gave the three lands to his three commanders to go to a faraway land where he built a new kingdom, Esquil. Thirty years had passed, and the three new kings decide to assassinate his son, so he sends his agents to these kingdoms to take revenge on them and reshape the territories. Their mission is to destroy the kingdoms from inside, but their specific plans are hidden from one another.