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The animal in question is the pet cat and this book is a history of the cat in Western literature. The author tells us that it was not until the story of Noah that a cat appeared in literature. The ark was so overrun with mice and rats that Noah passed his hand over a lion's head, who sneezed out a cat. From representations in Egyptian hieroglyphics of 6000BC to the time of writing the cat has been a constant companion to many literary figures.
Excerpt from The Fireside Sphinx There is a sweet and sunny corner of the Ely sian fields, where drowse and play, and drowse and play forever, a little band of cats, whose names, im perishable as their masters', are household words today. We know them well, these gentle furry ghosts, lifted to immortality by the human hands that fondled them in life. We know the white Muezza whom Mohammed loved, and Bouhaki of Thebes, proudest Of his proud race, and Dick Whittington's thrice famous cat that made his master's fortune. We know this sleek and shining tortoise-shell, for she is Selima, fair and ill-fated, whom the glint of gold-fish tempted to her grave. This pensive pussy with clear topaz eyes shared Petrarch's heart with Laura; this splendid beast, red as a fox and stately as a lion, is Chateaubriand 's Micetto, the sovereign Pontiff's gift; and his no less arrogant companion sat, it is whispered, by the side of Wolsey, when the butcher's son was Chan cellor of England. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Ancient Egypt springs to life in this enthralling sequel to Sphinx’s Princess. As she did in Nobody’s Princess and Nobody’s Prize, author Esther Friesner offers readers a fresh look at an iconic figure, blending historical fiction and mythology in a heady concoction. Hunted . . . Overnight, every aspect of Nefertiti’s life has changed. She is no longer living at the royal palace as the intended bride of the crown prince. Instead, she is being chased by the prince and his soldiers for a crime she did not commit. Hidden . . . Traveling with two of her dearest friends, including the crown prince’s brother, who helped her escape, Nefertiti takes shelter in the wild hills along the Nile’s west bank. She must rely on her own resourcefulness and skills (all those secret archery lessons prove very useful) as the fugitives fight to survive. Haunted . . . But the need for justice gnaws at Nefertiti. She is determined to plead her case to the Pharaoh and set things right. As she begins to question long-held sacred beliefs—a questioning that could alter the fabric of Egyptian society—her extraordinary journey from commoner to royalty brings adventure, intrigue, and romance.
Sought, the Sphinx seems everywhere, whether the guardian of the pyramids on Egypt's Giza plateau or the beautiful man-eater with a deadly riddle, to be approached with awful caution. The Sphinx, that icon painted, sculpted, engraved, and exalted in poetry, fiction, and music, so impressed the philosopher Hegel that he pronounced the creature “the symbol of the symbolic itself.” With a wealth of illustrations, Book of the Sphinx confirms Hegel's lofty judgment, finding the Sphinx everywhere: in tragedies, paintings, opera, murder mysteries, brothels, bars, and advertisements. Pursuing the Sphinx through kaleidoscopic sightings and encyclopedic observations, Willis Goth Regier plumbs the symbol's mysteries, conducting the reader down ever more perplexing and intriguing paths. Wonderfully readable, his highly idiosyncratic tour of the ages and the arts leads at last to a conception of the Sphinx that embraces nothing less than all that is unknowable—proving once again that confronting a Sphinx is one of the most dangerous and exhilarating adventures of the imagination.