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The Art Of Love
Should any one of the people not know the art of loving, let him read me; and taught by me, on reading my lines, let him love. By art the ships are onward sped by sails and oars; by art are the light chariots, by art is Love, to be guided. In the chariot and in the flowing reins was Automedon skilled: in the Hæmonian ship of Jason Tiphys was the pilot. Me, too, skilled in my craft, has Venus made the guardian of Love. Of Cupid the Tiphys and the Automedon shall I be styled. Unruly indeed he is, and one who oft rebels against me; but he is a child; his age is tender and easy to be governed.
The Symbolist Movement in Literature
"It is in and through Symbols that man, consciously or unconsciously, lives, works, and has his being: those ages, moreover, are accounted the noblest which can the best recognise symbolical worth, and prize it highest." Carlyle Without symbolism there can be no literature; indeed, not even language. What are words themselves but symbols, almost as arbitrary as the letters which compose them, mere sounds of the voice to which we have agreed to give certain significations, as we have agreed to translate these sounds by those combinations of letters? Symbolism began with the first words uttered by the first man, as he named every living thing; or before them, in heaven, when God named the world into being. And we see, in these beginnings, precisely what Symbolism in literature really is: a form of expression, at the best but approximate, essentially but arbitrary, until it has obtained the force of a convention, for an unseen reality apprehended by the consciousness. It is sometimes permitted to us to hope that our convention is indeed the reflection rather than merely the sign of that unseen reality. We have done much if we have found a recognisable sign.
Heart of Darkness
The Nellie, a cruising yawl, swung to her anchor without a flutter of the sails, and was at rest. The flood had made, the wind was nearly calm, and being bound down the river, the only thing for it was to come to and wait for the turn of the tide.The sea-reach of the Thames stretched before us like the beginning of an interminable waterway. In the offing the sea and the sky were welded together without a joint, and in the luminous space the tanned sails of the barges drifting up with the tide seemed to stand still in red clusters of canvas sharply peaked, with gleams of varnished sprits. A haze rested on the low shores that ran out to sea in vanishing flatness. The air was dark above Gravesend, and farther back still seemed condensed into a mournful gloom, brooding motionless over the biggest, and the greatest, town on earth...
Finnish magic songs
The Finns possess a considerable number of words and epithets for wizard, sorcerer, witch, seer, ecstatic and the like. Some of these are native words like noita 'a sorcerer,' tieto-mies or tietäjä 'the knower,' loitsija 'the reciter of a magic song (loitsu), arpoja 'a diviner,' näkijä 'a seer,' myrrys-mies or into-mies 'an ecstatic,' lumoja 'a stupefier,' lukija 'a reciter,' katselija 'an observer,' laulu-mies 'a song-man,' ampuja 'an archer,' kukkaro-mies a bag-man.' Others are of foreign origin like mahti-mies or mahtaja
Dante's Inferno
"IN the midway of this our mortal life,I found me in a gloomy wood, astrayGone from the path direct: and e'en to tellIt were no easy task, how savage wildThat forest, how robust and rough its growth,Which to remember only, my dismay...
The Man Eaters of Tsavo
It was towards noon on March 1, 1898, that I first found myself entering the narrow and somewhat dangerous harbour of Mombasa, on the east coast of Africa. The town lies on an island of the same name, separated from the mainland only by a very narrow channel, which forms the harbour; and as our vessel steamed slowly in, close under the quaint old Portuguese fortress built over three hundred years ago, I was much struck with the strange beauty of the view which gradually opened out before me. Contrary to my anticipation, everything looked fresh and green, and an oriental glamour of enchantment seemed to hang over the island. The old town was bathed in brilliant sunshine and reflected itself lazily on the motionless sea; its flat roofs and dazzlingly white walls peeped out dreamily between waving palms and lofty cocoanuts, huge baobabs and spreading mango trees; and the darker background of well-wooded hills and slopes on the mainland formed a very effective setting to a beautiful and, to me, unexpected picture.
The Palgrave Handbook of Screenwriting Studies
This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive media, and includes a range of approaches, from theoretical perspectives to in-depth case studies. 44 scholars from around the globe demonstrate the range and depths of this new and expanding area of study. As the chapters of this Handbook demonstrate, shifting the focus from the finished film to the process of screenwriting and the text of the screenplay facilitates valuable new insights. This Handbook is the first of its kind, an indispensable compendium for both academics and practitioners.
The Astral Plane
None
Tales and Stories
It is customary to regard Mary Shelleys claims to literary distinction as so entirely rooted and grounded in her husbands as to constitute a merely parasitic growth upon his fame. It may be unreservedly admitted that her association with Shelley, and her care of his writings and memory after his death, are the strongest of her titles to remembrance. It is further undeniable that the most original of her works is also that which betrays the strongest traces of his influence. Frankenstein was written when her brain, magnetized by his companionship, was capable of an effort never to be repeated. But if the frame of mind which engendered and sustained the work was created by Shelley, the conception was not his, and the diction is dissimilar to his. Both derive from Godwin, but neither is Godwins. The same observation, except for an occasional phrase caught from Shelley, applies to all her subsequent work. The frequent exaltation of spirit, the ideality and romance, may well have been Shelleysthe general style of execution neither repeats nor resembles him.
The Zend Avesta
THE Zend-Avesta is the sacred book of the Parsis, that is to say, of the few remaining followers of that religion which feigned over Persia at the time when the second successor of Mohammed overthrew the Sassanian dynasty, and which has been called Dualism, or Mazdeism, or Magism, or Zoroastrianism, or Fire-worship, according as its main tenet, or its supreme God, or its priests, or its supposed founder, or its apparent object of worship has been most kept in view. In less than a century after their defeat, nearly all the conquered people were brought over to the faith of their new rulers, either by force, or policy, or the attractive power of a simpler form of creed. But many of those who clung to the faith of their fathers, went and sought abroad for a new home, where they might freely worship their old gods, say their old prayers, and perform their old rites. That home they found at last among the tolerant Hindus, on the western coast of India and in the peninsula of Guzerat. There they throve and there they live still, while the ranks of their co-religionists in Persia are daily thinning and dwindling away.
