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In the Southeast of Aerbon, the elvish country of Gilan prepares for war against the drug-addled orcs of the Gorgon Desolation after the disappearance of the king's daughter, Princess Eaïnne. Together, with the help of the Nardic Tribes of the South, the elves hope to rescue their lost princess and eradicate the orcish race as a whole in an effort to free the continent of Aerbon from its impending doom at the hands of the orcs. The orcs of the Gorgon lands grew and produced a demonic drug called Guaka-Guaka; causing them to become blood-thirsty and schizophrenic where it tainted them more and more with each use. They were addicted to the foul substance and they claimed that it was a gift from their gods, the Masters, who had initially bestowed it upon them in the long-forgotten Age of Myth. It was refined in factories that blackened the skies and the production of the drug was steadily causing their world to die off as a result. So it was that the elves sought to end their foul existence whilst the orcs fought to maintain their lifestyle, seeing nothing wrong with their actions as they claimed that it was the will of their gods.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
Nathaniel Hawthorne, an English writer interested in Greek philosophy, had an opinion that many of the classical myths were capable of being rendered into interesting reads for children. Thus, he compiled a book of 12 stories of Greek mythology with the aim to meet the comprehension of children. The story presented here is a part of the collection.
Taking place in the Brebon Isles off the northern coast of Aerbon during the First Era, "The Chronicles of Bree I" tells the tale of Rome's invasion of Bree. With the Roman economy suffering in light of the Roman-Itanian War of 1E25-30 and the Second Sumatran War (1E21-32), the Roman-based Merchant's Guild sent an expedition across the Aerbonean Ocean in their efforts to circumvent the neighbouring Kingdom of Svaneiol. This was predominantly due to the fact that they found their northern convoys plagued by the bandits and thieves that were prevalent in the poorer kingdom where it was situated in the mountainous woodlands between Rome and Legion. Following their ensuing discovery of the Brebon Isles, the reigning emperor launched a military campaign to bring the islands under the rule of the Roman Empire. The Breelanders were a primitive and tribal people, though their main advantage laid in the wars that had ravaged Rome's mighty empire. As a result, both sides found themselves pitted against one another in a long and bloody war where the Breelanders tenaciously fought to maintain their independence whilst Rome's forces fought to strengthen their influence in the lands of Aerbon and restore their economy in light of their campaigns against Itania and Sumatra.
The thesis of A Gorgon’s mask: The Mother in Thomas Mann’s Fiction depends upon three psychoanalytic concepts: Freud’s early work on the relationship between the infant and its mother and on the psychology of artistic creation, Annie Reich’s analysis of the grotesque-comic sublimation, and Edmund Bergler’s analysis of writer’s block. Mann’s crisis of sexual anxiety in late adolescence is presented as the defining moment for his entire artistic life. In the throes of that crisis he included a sketch of a female as Gorgon in a book that would not escape his mother’s notice. But to defend himself from being overcome by the Gorgon-mother’s stare he employed the grotesque-comic sublimation, hiding the mother figure behind fictional characters physically attractive but psychologically repellent, all the while couching his fiction in an ironic tone that evoked humor, however lacking in humor the subtext might be. In this manner he could deny to himself that the mother figure always lurked in his work, and by that denial deny that he was a victim of oral regression. For, as Edmund Bergler argues, the creative writer who acknowledges his oral dependency will inevitably succumb to writer’s block. Mann’s late work reveals that his defense against the Gorgon is crumbling. In Doctor Faustus Mann portrays Adrian Leverkühn as, ultimately, the victim of oral regression; but the fact that Mann was able to compete the novel, despite severe physical illness and psychological distress, demonstrates that he himself was still holding writer’s block at bay. In Confessions of Felix Krull: Confidence Man, a narrative that he had abandoned forty years before, Mann was finally forced to acknowledge that he was depleted of creative vitality, but not of his capacity for irony, brilliantly couching the victorious return of the repressed in ambiguity. This study will be of interest to general readers who enjoy Mann’s narrative art, to students of Mann’s work, especially its psychological and mythological aspects, and to students of the psychology of artistic creativity.
William R. Brashear deals with tragedy, not as a dramatic literary genre, but as a basic way of experiencing the universe and of reacting to it. The writer of tragedy forces readers to confront much more than a tragic flaw in a single character; he forces them to confront the gorgon's head itself, the ultimate chaos of the universe. For him, Aristotle's intellectualization of tragedy distorted it for centuries because the tragic sense of life is experiential and intuitive rather than logical and syllogistic. In the later works of Schopenhauer, Nietzsche, and Spangler, Brashear finds the beginnings of the understanding of tragedy that developed in nineteenth- and twentieth-century literature. In careful considerations of such writers as Shakespeare, Tennyson, Conrad, Housman, Shaw, O'Neill, and Arthur Miller, Brashear refines his views of tragedy and tests their validity. The chapter on Tennyson supersedes and goes well beyond The Living Will, his earlier study of the poet. Brashear's discussions of individual writers reinforce each other and point to several important conclusions about the tragic vision and tragic art. Most significant among his conclusions is that tragedy is often taken to be more benign and positive than it really is and that if the tragic experience is essentially healthy and rewarding, it is so because it involves a confrontation that broadens, strengthens, and stabilizes and not because it suggests any ultimate solution to the human condition.
All poems of terror are written ,illustrated and recited by the author."Opium dreamsWorldly pleasuresEmpty existence...Dread consequencesFalse sense of securityand trance of an unknown realityAccept your fears and they will live in the marrow of reason"
Taking place in the First Era of Northwestern Aerbon between the years 1E75-151, The Northern Wars revolves around several wars spanning that time period. Following the passage of a royal decree in 1E78, King Louis Delaunay IV of the Kingdom of Legion declared a tax upon the hemp that passed through his lands. The people of Ahglor were a hardy folk who grew the stuff to smoke and trade with the elves of Aenor between hunting and farming in the northern reaches of their mountainous country. The King was a fiend for their weed and his men confiscated it at the borders— arresting any who carried the product of the North on their travels to exchange it with the eastern elves of Aenor for the absinthe of their woods. Meanwhile in Aenor, however, a mysterious threat plagued their land. The residents of their coastal towns were disappearing in the night whilst an expedition was being arranged by the Great Chief to explore the lands east across the water.
This authoritative edition was originally published in the acclaimed Oxford Authors series under the general editorship of Frank Kermode. It brings together a unique combination of Milton's poetry and prose - all the English verse together with a generous selection from the major prosewritings - to give the essence of his work and thinking.Milton's influence on English poetry and criticism has been incalculable, and this edition covers the full range of his poetic and political output. It includes Paradise Lost, Paradise Regained, and Samson Agonistes as well as major prose works such as Areopagitica and The Tenure of Kings andMagistrates. As well as all the English and Italian verse, the volume includes most of the Latin and Greek verse in parallel translation. Spelling has been modernized, and the poems are arranged in order of publication, essential to an understanding of the progress of Milton's career in relationto the political and religious upheavals of his time. The extensive notes cover syntax, vocabulary, historical context, and biblical and classical allusions. The introduction traces both Milton's changing conception of his own vocation, and the critical reception his work has received over the pastfour centuries.