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Mythology
The nurturing Earth Goddess, the Great Mother worshipped at the dawn of civilization--historical fact or consoling fiction?
While Goddess mythologies proliferate and the public devours books by artists, psychotherapists, and enthusiastic amateurs, it is remarkable that those in the field of prehistory have remained largely silent. Did Goddess worship really exist? What actually remains from the earliest cultures, and what can it tell us? What can we learn about the early stages of human religion from the study of prehistoric carvings, pictures, pottery, figurines, and temples?
In Ancient Goddesses, historians and archaeologists write accessibly about this intriguing and controversial topic for the first time. Considering a number of significant early civilizations--Predynastic and Early Dynastic Egypt; "Old Europe;" Early North West Europe; "Celtic" civilization; the Prehistoric Aegean; Malta; the Ancient Near East; Old Testament Israel; Çatalhöyük; and Archaic Greece--these experts review the most recent evidence so that readers can make up their own minds.
Contributors include Ruth Tringham and Margaret Conkey, University of California, Berkeley; Lynn Meskell, New College, Oxford; Fekri Hassan, University College, London; Karel van der Toorn, University of Amsterdam; Joan Westenholz, Bible Lands Museum, Jerusalem; Elizabeth Shee Twohig, University College, Cork; Caroline Malone, New Hall, Cambridge; Mary Voyatzis, University of Arizona; and Miranda Green, University of Wales College.
Composed toward the end of the first millennium, Beowulf is the elegiac narrative of the adventures of Beowulf, a Scandinavian hero who saves the Danes from the seemingly invincible monster Grendel and, later, from Grendel's mother. He then returns to his own country and dies in old age in a vivid fight against a dragon. The poem is about encountering the monstrous, defeating it, and then having to live on in the exhausted aftermath. In the contours of this story, at once remote and uncannily familiar at the beginning of the twenty-first century, Nobel laureate Seamus Heaney finds a resonance that summons power to the poetry from deep beneath its surface. Drawn to what he has called the "four-squareness of the utterance" in Beowulf and its immense emotional credibility, Heaney gives these epic qualities new and convincing reality for the contemporary reader.
Named one of the Best Poetry Books of 2021 by The Guardian
Longlisted for the 2021 National Translation Award in Poetry. Picked for Kirkus Reviews' Best Fiction in Translation of 2020. Named a Book of the Year by NPR, Vox, and The New Statesman. Picked for Loyalty Books' Holiday List.
New York Times bestseller
"A thrill . . . Beowulf was Tolkien's lodestar. Everything he did led up to or away from it." --New Yorker J.R.R. Tolkien completed his translation of Beowulf in 1926: he returned to it later to make hasty corrections, but seems never to have considered its publication. This edition includes an illuminating written commentary on the poem by the translator himself, drawn from a series of lectures he gave at Oxford in the 1930s. His creative attention to detail in these lectures gives rise to a sense of the immediacy and clarity of his vision. It is as if Tolkien entered into the imagined past: standing beside Beowulf and his men shaking out their mail-shirts as they beach their ship on the coast of Denmark, listening to Beowulf's rising anger at Unferth's taunting, or looking up in amazement at Grendel's terrible hand set under the roof of Heorot. "Essential for students of the Old English poem--and the ideal gift for devotees of the One Ring." --Kirkus
A century after its debut, Waite's work remains among the best sources of information on occult subjects related to the study of the supernatural. Although the author does not condone the practice of black magic, he defends occult practitioners and praises the disciplines of astrology and alchemy. Modern readers will find this book an extraordinarily complete tour of the history of magic, replete with details of casting spells, conjuring spirits, and other occult practices.
The first English publication of Sami folktales from Scandinavia collected and illustrated in the early twentieth century
Although versions of tales about wizards and magical reindeer from northern Scandinavia are found in European folk and fairytale collections, stories told by the indigenous Nordic Sami themselves are rare in English translation. The stories in By the Fire, collected by the Danish artist and ethnographer Emilie Demant Hatt (1873-1958) during her travels in the early twentieth century among the nomadic Sami in Swedish Sápmi, are the exception--and a matchless pleasure, granting entry to a fascinating world of wonder and peril, of nature imbued with spirits, and strangers to be outwitted with gumption and craft.
Between 1907 and 1916 Demant Hatt recorded tales of magic animals, otherworldly girls who marry Sami men, and cannibalistic ogres or Stallos. Many of her storytellers were women, and the memorable tales included in this collection tell of plucky girls and women who outfox their attackers (whether Russian bandits, mysterious Dog-Turks, or Swedish farmers) and save their people. Here as well are tales of ghosts and pestilent spirits, murdered babies who come back to haunt their parents, and legends in which the Sami are both persecuted by their enemies and cleverly resistant. By the Fire, first published in Danish in 1922, features Demant Hatt's original linoleum prints, incorporating and transforming her visual memories of Sápmi in a style influenced by the northern European Expressionists after World War I.
With Demant Hatt's field notes and commentary and translator Barbara Sjoholm's Afterword (accompanied by photographs), this first English publication of By the Fire is at once a significant contribution to the canon of world literature, a unique glimpse into Sami culture, and a testament to the enduring art of storytelling.
A collection of radical political fairy tales--some in English for the first time--from one of the great female practitioners of the genre
Hermynia Zur Mühlen (1883-1951), one of the twentieth century's great political writers, was not seemingly destined for a revolutionary, unconventional literary career. Born in Vienna to an aristocratic Catholic family, Zur Mühlen married an Estonian count. But she rebelled, leaving her upper-class life to be with the Hungarian writer and Communist Stefan Klein, and supporting herself through translations and publications. Altogether, Zur Mühlen wrote thirty novels, mysteries, and story collections, and translated around 150 works, including those of Upton Sinclair, John Galsworthy, and Edna Ferber. A wonderful new addition to the Oddly Modern Fairy Tales series, The Castle of Truth and Other Revolutionary Tales presents English readers with a selection of Zur Mühlen's best political fairy tales, some translated from German for the first time. In contrast to the classical tales of the Brothers Grimm and Hans Christian Andersen, Zur Mühlen's candid, forthright stories focus on social justice and the plight of the working class, with innovative plots intended to raise the political consciousness of readers young and old. For example, in "The Glasses," readers are encouraged to rip off the glasses that deceive them, while in "The Carriage Horse," horses organize a union to resist their working and living conditions. In "The Broom," a young worker learns how to sweep away injustice. With an informative introduction by Jack Zipes and period illustrations by George Grosz, John Heartfield, Heinrich Vogeler, and Karl Holtz, The Castle of Truth and Other Revolutionary Tales revives the legacy of a notable female artist whose literary and political work remains relevant in our own time.
Comic Sagas and Tales from Iceland brings together the very finest Icelandic stories from the thirteenth to fifteenth centuries, a time of civil unrest and social upheaval. With feuding families and moments of grotesque violence, the sagas see such classic mythological figures as murdered fathers, disguised beggars, corrupt chieftains, and avenging sons who do battle with axes, words, and cunning. The tales, meanwhile, follow heroes and comical fools through dreams, voyages, and religious conversions in medieval Iceland and beyond. Shaped by Iceland's oral culture and its people's conversion to Christianity, these stories are works of ironic humor and stylistic innovation. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
A new collection of subversive French fairy tales
The wolf is tricked by Red Riding Hood into strangling her grandmother and is subsequently arrested. Sleeping Beauty and Cinderella do not live happily ever after. And the fairies are saucy, angry, and capricious. Fairy Tales for the Disillusioned collects thirty-six tales, most newly translated, by writers associated with the decadent literary movement that flourished in late nineteenth-century France. These enchanting yet troubling stories reflect the concerns and fascinations of a time of great political, social, and cultural change. Recasting well-known favorites from classic French fairy tales, as well as Arthurian legends and English and German tales, these decadent fairy tales feature perverse settings and disillusioned perspectives, underlining such themes as the decline of civilization, the degeneration of magic and the unreal, gender confusion, and the incursion of the industrial. Complete with an informative introduction, biographical notes for each author, and explanatory notes throughout, these subversive tales will entertain and startle even the most disenchanted readers.
The Fall of Arthur, the only venture by J.R.R. Tolkien into the legends of Arthur, king of Britain, may well be regarded as his finest and most skillful achievement in the use of Old English alliterative meter, in which he brought to his transforming perceptions of the old narratives a pervasive sense of the grave and fateful nature of all that is told: of Arthur's expedition overseas into distant heathen lands, of Guinevere's flight from Camelot, of the great sea battle on Arthur's return to Britain, in the portrait of the traitor Mordred, in the tormented doubts of Lancelot in his French castle.
Unhappily, The Fall of Arthur was one of several long narrative poems that Tolkien abandoned. He evidently began it in the 1930s, and it was sufficiently advanced for him to send it to a very perceptive friend who read it with great enthusiasm at the end of 1934 and urgently pressed him, "You simply must finish it!" But in vain: he abandoned it at some unknown date, though there is evidence that it may have been in 1937, the year of publication of The Hobbit and the first stirrings of The Lord of the Rings. Years later, in a letter of 1955, he said that he "hoped to finish a long poem on The Fall of Arthur," but that day never came.Associated with the text of the poem, however, are many manuscript pages: a great quantity of drafting and experimentation in verse, in which the strange evolution of the poem's structure is revealed, together with narrative synopses and significant tantalizing notes. In these notes can be discerned clear if mysterious associations of the Arthurian conclusion with The Silmarillion, and the bitter ending of the love of Lancelot and Guinevere, which was never written.
Gabriel's Palace offers a treasury of 150 pithy and powerful tales, involving experiences of union with the divine, out-of-body travel, encounters with angels and demons, possession by spirits holy and pernicious, and more. Schwartz provides an informative introduction placing these remarkable tales firmly in the context of centuries of post-biblical Jewish tradition. The body of the text presents spellbinding tales from the Talmud, Zohar, the Hasidic masters, and an enormous range of other sources. Here are stories of Shimon bar Yohai, reputed to be the author of the Zohar; Isaac Luria, known as the Ari, who was the central figure among the Safed mystics of the 16th century; Israel ben Eliezer, known as Baal Shem Tov, who founded Hasidism; Elimelech of Lizensk, possessor of legendary mystical powers; and Nachman of Bratslav, the great storyteller whose wandering spirit is said to protect his followers to this day. Together, these tales paint a vivid picture of "a world of signs and symbols, where everything that took place had meaning, a world of mythic proportions....A world in which the spirits of the dead were no longer invisible, nor the angels," where the master and his disciples labor to repair the world so that the footsteps of the Messiah might be heard.
Drawn from rabbinic, kabbalistic, folk, and Hasidic sources, these collected tales form a rich genre all their own. In Gabriel's Palace, the powerful tradition of Jewish mysticism comes to life in clear, contemporary English.
Reflections on a lost poem and its rediscovery by contemporary poets
Gilgamesh is the most ancient long poem known to exist. It is also the newest classic in the canon of world literature. Lost for centuries to the sands of the Middle East but found again in the 1850s, it is a story of monsters, gods, and cataclysms, and of intimate friendship and love. Acclaimed literary historian Michael Schmidt provides a unique meditation on the rediscovery of Gilgamesh, showing how part of its special fascination is its captivating otherness. He reflects on the work of leading poets such as Charles Olson, Louis Zukofsky, and Yusef Komunyakaa, whose own encounters with the poem are revelatory, and he reads its many translations and editions to bring it vividly to life for today's readers.
Wendy Doniger's foundational study is both modern in its engagement with a diverse range of religions and refreshingly classic in its transhistorical, cross-cultural approach. By responsibly analyzing patterns and themes across context, Doniger reinvigorates the comparative reading of religion, tapping into a wealth of narrative traditions, from the instructive tales of Judaism and Christianity to the moral lessons of the Bhagavad Gita. She extracts political meaning from a variety of texts while respecting the original ideas of each. A new preface confronts the difficulty of contextualizing the comparison of religions as well as controversies over choosing subjects and positioning arguments, and the text itself is expanded and updated throughout.
Michael Wood's In Search of Myths & Heroes explores four remarkable legends that have endured from ancient eras to modern times.
Shangri-la: The Paradise Myth
From Babylonia to ancient Tibet to Frank Capra's movie Lost Horizon--the story of an earthly paradise has been immortalized through the ages. But was there a real Shangri-la?
Jason & the Golden Fleece: The Hero's Quest
Possibly the oldest story in world literature and one still told today--from Gilgamesh to Star Wars--Jason's quest is that of a young man who must venture into the unknown to complete an impossible task. It is a story of bravery, treachery, and love, but what price must our hero pay for achieving his "mission impossible"?
The Queen of Sheba: The Woman of Power
The tale of Sheba, told for more than two and half millennia in Arabia, the Near East, Africa, and Europe, is the story of a woman who is a founder of nations, a fantasy lover, the personification of wisdom, adored and demonized in equal measure. Is this the fate of powerful women even today?
Arthur: The Once & Future King
Arthur, said to have ruled in a golden age, had his power broken by human weakness and greed. His story, the myth of the king who will one day return, is echoed in nearly every culture in the world. But who was Arthur and why do we need to believe in him and his future reign?
Copub: BBC
Once upon a time, there lived a humble juggler, Barnaby by name, who was skillful but suffered every winter from poverty. A devotee of the Virgin, he had few failings apart from enjoying drink a little too much. One day he met a monk, who persuaded him to enter a monastery. All the brethren had exceptional skills to exercise on behalf of Mary, but the juggler felt he had nothing worthy to offer. Finally, he had the notion to juggle copper balls and knives before the altar of the Virgin in the chapel. The others caught him in the act and deemed his behavior madness, but after seeing the Mother of God descend to soothe him, they realized that he was blessed.
Writers, illustrators, and musicians from the Middle Ages to the present have loved this simple, medieval tale. In 1890, Anatole France (1844-1924) adapted the original poem as the short story "Le jongleur de Notre-Dame." Dumbarton Oaks is pleased to bring this version back into print for the enjoyment of modern audiences, featuring a translation by Jan M. Ziolkowski and Art Deco illustrations by Maurice Lalau (1881-1961), faithfully reproduced from a 1924 printing.
Louis Rhead's evocative black-and-white illustrations, inspired by Celtic art of the sixth century, add depth and resonance to these retellings of the Arthurian myths. The stories range from Merlin's earliest prophecies and the young king's encounter with the Lady of the Lake to the adventures of Sir Lancelot, the quest for the Holy Grail, and Arthur's final battle and voyage to Avalon.
These stories have inspired numerous film adaptations, including the 2017 release King Arthur: Legend of the Sword, directed by Guy Ritchie and starring Charlie Hunnam, Jude Law, Eric Bana, Djimon Hounsou, and Annabelle Wallis
In this classic work, often described as "The History of the Rise, Decline, and Fall of the Love Affair," Denis de Rougemont explores the psychology of love from the legend of Tristan and Isolde to Hollywood. At the heart of his ever-relevant inquiry is the inescapable conflict in the West between marriage and passion--the first associated with social and religious responsiblity and the second with anarchic, unappeasable love as celebrated by the troubadours of medieval Provence. These early poets, according to de Rougemont, spoke the words of an Eros-centered theology, and it was through this "heresy" that a European vocabulary of mysticism flourished and that Western literature took on a new direction.
Bringing together historical, religious, philosophical, and cultural dimensions, the author traces the evolution of Western romantic love from its literary beginnings as an awe-inspiring secret to its commercialization in the cinema. He seeks to restore the myth of love to its original integrity and concludes with a philosophical perspective on modern marriage.