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Bulfinch's Mythology: All Volumes

Bulfinch's Mythology: All Volumes Bulfinch's Mythology:
All Volumes

Thomas Bulfinch's compendium of Greek, Norse and Anglo-Saxon myths and legends offers superb insight into the origins, themes and contexts of ancient stories.

This edition unites all volumes into a single, overarching text perfect for referencing, and inclusive of a lengthy, comprehensive glossary. Bulfinch's Mythology is a crucial text for enthusiasts of ancient myths and lore, as well as students and teachers of classics or ancient literature. It offers a well-researched, literate and comprehensive narration upon legends both renowned and obscure, with insight into the cultures and societies which birthed these stories plentiful.

After introducing the premise of the work, Bulfinch delves sequentially into the myths and legends of Ancient Greece. We witness adventures and follies of various Gods of the Greek pantheon, while mythic peoples such as the Myrmidons and beasts like the Chimaera and the Sphinx also appear.

Following a brief appearance of the Egyptian deities and Eastern myths originating from the Indian subcontinent, Bulfinch turns his focus upon the Nordic myths of antiquity. Valhalla and the Gods conceived by the Norse peoples are examined in depth, with the emergence of Thor and the origin of the Elves particular highlights.

A large portion of this work concerns the legends of King Arthur and the Knights of the Round Table. All the famous characters of Arthurian lore are present; Lancelot, Merlin, Queen Guinevere (Guenever), Tristham and Isolde, Percival and others make their due appearance. The famous quest for the Holy Grail - or Sangreal - forms a lengthy part of this section.

Following the Arthurian myths, Bulfinch turns to the Mabinogeon - the earliest Medieval prose writings of the British Isles. Traced to the 12th and 13th centuries, these stories concern the origins of the British people, the famed Lady of the Fountain, and other aspects of chivalric society.

The book concludes with the legends of Charlemagne, where we learn how the various invasions and battles the ancient Frankish king partook in were mythologised and romanticised. Aspects of mythic lore, such as the appearance of Orcs and magical enchanting, offer a profound look into the development of these legends.

Paperback: 384 pages
Publisher: CreateSpace Independent Publishing Platform (November 1, 2016)

Mythology The Gods, Heroes, and Monsters of Ancient Greece (Ologies)

Mythology The Gods, Heroes, and Monsters of Ancient Greece (Ologies) Mythology The Gods, Heroes, and Monsters of Ancient Greece

Presenting the newest discovery in the series with the Midas touch — a mythical exploration fit for the gods.

In the early nineteenth century, an English nobleman embarked on a tour of the sites of ancient Greece. He brought as his guide a primer on Greek myths written by his friend Lady Hestia Evans, a devotee of Lord Byron who had recently taken the same voyage. In the true Romantic spirit, Lady Hestia’s book was not only lavishly illustrated but also boasted many paper crafts and novelties, including a card game featuring the twelve Olympians, an oak-leaf oracle of Zeus, a pop-up Pandora’s box (with hope still inside), a booklet retelling the tale of Odysseus, a piece of the Golden Fleece, a gold OBOLOS coin to pay the ferryman on the River Styx, and many more flaps, foldouts, and other surprises. The nobleman added his own witty comments and drawings along the way, but seems to have wished for something odd at the Delphic oracle: as the book nears its end, it slowly begins to turn . . .to gold. Now, for lovers of Greek myths and those just discovering their timeless power, this fascinating volume is faithfully reproduced with all its Romantic ambience, clever wit and novelty features intact.

Hardcover: 29 pages
Publisher: Candlewick Press; First Edition edition (August 28, 2007)

The Illustrated A-Z Of Classic Mythology: The Legends Of Ancient Greece, Rome And The Norse And Celtic Worlds; A Visual Dictionary With 1000 Entries And More Than 600 Fine Art Images

The Illustrated A-Z Of Classic Mythology: The Legends Of Ancient Greece, Rome And The Norse And Celtic Worlds; A Visual Dictionary With 1000 Entries And More Than 600 Fine Art Images The Illustrated A-Z Of Classic Mythology

A comprehensive reference source to the ancient world's most fascinating mythologies, bringing together the Classical legends of ancient Greece and Rome; the fairytale myths of the Celtic world; and from Northern Europe, tales of Germanic gods, Nordic warriors and giants.

About the Author

Arthur Cotterell has lectured and written widely on the mythologies and ancient civilizations of the world and is respected as a world-renowned authority on the subject. Former Principal of Kingston College in London, he is the author of the best-selling Dictionary of World Mythology, as well as books on the civilizations of East Asia.

Hardcover: 256 pages
Publisher: Lorenz Books (January 7, 2014)

The Urantia Book
The Urantia Book The Urantia Book

Love

Love is truly contagious and eternally creative. (p. 2018) “Devote your life to proving that love is the greatest thing in the world.” (p. 2047) “Love is the ancestor of all spiritual goodness, the essence of the true and the beautiful.” (p. 2047) The Father’s love can become real to mortal man only by passing through that man’s personality as he in turn bestows this love upon his fellows. (p. 1289) The secret of a better civilization is bound up in the Master’s teachings of the brotherhood of man, the good will of love and mutual trust. (p. 2065)

Prayer

Prayer is not a technique of escape from conflict but rather a stimulus to growth in the very face of conflict. (p. 1002) The sincerity of any prayer is the assurance of its being heard. … (p. 1639) God answers man’s prayer by giving him an increased revelation of truth, an enhanced appreciation of beauty, and an augmented concept of goodness. (p. 1002) …Never forget that the sincere prayer of faith is a mighty force for the promotion of personal happiness, individual self-control, social harmony, moral progress, and spiritual attainment. (p. 999)

Suffering

There is a great and glorious purpose in the march of the universes through space. All of your mortal struggling is not in vain. (p. 364) Mortals only learn wisdom by experiencing tribulation. (p. 556)

Angels

The angels of all orders are distinct personalities and are highly individualized. (p. 285) Angels....are fully cognizant of your moral struggles and spiritual difficulties. They love human beings, and only good can result from your efforts to understand and love them. (p. 419)

Our Divine Destiny

If you are a willing learner, if you want to attain spirit levels and reach divine heights, if you sincerely desire to reach the eternal goal, then the divine Spirit will gently and lovingly lead you along the pathway of sonship and spiritual progress. (p. 381) …They who know that God is enthroned in the human heart are destined to become like him—immortal. (p. 1449) God is not only the determiner of destiny; he is man’s eternal destination. (p. 67)

Family

Almost everything of lasting value in civilization has its roots in the family. (p. 765) The family is man’s greatest purely human achievement. ... (p. 939)

Faith

…Faith will expand the mind, ennoble the soul, reinforce the personality, augment the happiness, deepen the spirit perception, and enhance the power to love and be loved. (p. 1766) “Now, mistake not, my Father will ever respond to the faintest flicker of faith.” (p. 1733)

History/Science

The story of man’s ascent from seaweed to the lordship of earthly creation is indeed a romance of biologic struggle and mind survival. (p. 731) 2,500,000,000 years ago… Urantia was a well developed sphere about one tenth its present mass. … (p. 658) 1,000,000,000 years ago is the date of the actual beginning of Urantia [Earth] history. (p. 660) 450,000,000 years ago the transition from vegetable to animal life occurred. (p. 669) From the year A.D. 1934 back to the birth of the first two human beings is just 993,419 years. (p. 707) About five hundred thousand years ago…there were almost one-half billion primitive human beings on earth. … (p. 741) Adam and Eve arrived on Urantia, from the year A.D. 1934, 37,848 years ago. (p. 828)

From the Inside Flap

What’s Inside?

Parts I and II

God, the inhabited universes, life after death, angels and other beings, the war in heaven.

Part III

The history of the world, science and evolution, Adam and Eve, development of civilization, marriage and family, personal spiritual growth.

Part IV

The life and teachings of Jesus including the missing years. AND MUCH MORE…

Excerpts

God, …God is the source and destiny of all that is good and beautiful and true. (p. 1431) If you truly want to find God, that desire is in itself evidence that you have already found him. (p. 1440) When man goes in partnership with God, great things may, and do, happen. (p. 1467)

The Origin of Human Life, The universe is not an accident... (p. 53) The universe of universes is the work of God and the dwelling place of his diverse creatures. (p. 21) The evolutionary planets are the spheres of human origin…Urantia [Earth] is your starting point. … (p. 1225) In God, man lives, moves, and has his being. (p. 22)

The Purpose of Life, There is in the mind of God a plan which embraces every creature of all his vast domains, and this plan is an eternal purpose of boundless opportunity, unlimited progress, and endless life. (p. 365) This new gospel of the kingdom… presents a new and exalted goal of destiny, a supreme life purpose. (p. 1778)

Jesus, The religion of Jesus is the most dynamic influence ever to activate the human race. (p. 1091) What an awakening the world would experience if it could only see Jesus as he really lived on earth and know, firsthand, his life-giving teachings! (p. 2083)

Science, Science, guided by wisdom, may become man’s great social liberator. (p. 909) Mortal man is not an evolutionary accident. There is a precise system, a universal law, which determines the unfolding of the planetary life plan on the spheres of space. (p. 560)

Life after Death, God’s love is universal… He is “not willing that any should perish.” (p. 39) Your short sojourn on Urantia [Earth]…is only a single link, the very first in the long chain that is to stretch across universes and through the eternal ages. (p. 435) …Death is only the beginning of an endless career of adventure, an everlasting life of anticipation, an eternal voyage of discovery. (p. 159)

About the Author

The text of The Urantia Book was provided by one or more anonymous contributors working with a small staff which provided editorial and administrative support during the book's creation. The book bears no particular credentials (from a human viewpoint), relying instead on the power and beauty of the writing itself to persuade the reader of its authenticity.

Leather Bound: 2097 pages
Publisher: Urantia Foundation; Box Lea edition (August 25, 2015)

Mythology: Timeless Tales of Gods and Heroes, 75th Anniversary Illustrated Edition

Mythology: Timeless Tales of Gods and Heroes, 75th Anniversary Illustrated Edition Mythology: Timeless Tales of Gods and Heroes

In celebration of of the 75th anniversary of this classic bestseller, this stunningly illustrated, beautifully packaged, larger-format hardcover edition will be beloved by fans of Greek, Roman, and Norse mythology of all ages. Since its original publication by Little, Brown and Company in 1942, Edith Hamilton's Mythology has sold millions of copies throughout the word and established itself as a perennial bestseller in its various available formats: hardcover, trade paperback, mass market paperback, and e-book. For 75 years readers have chosen this book above all others to discover the thrilling, enchanting, and fascinating world of Western mythology-from Odysseus's adventure-filled journey to the Norse god Odin's effort to postpone the final day of doom. This exciting new deluxe, large-format hardcover edition, published in celebration of the book's 75th anniversary, will be beautifully packages and fully-illustrated throughout with all-new, specially commissioned four-color art, making it a true collector's item.

About the Author

Edith Hamilton (1868-1963) was born of American parents in Dresden, Germany, and grew up in Indiana. Through the first quarter of the twentieth century she was the headmistress of the Bryn Mawr School in Baltimore. Upon retiring, she began to write about the civilizations of the ancient world and soon gained world renown as a classicist. Her celebrated and bestselling books include Mythology, The Greek Way, The Roman Way, and The Echo of Greece. She regarded as the high point of her life a 1957 ceremony in which King Paul of Greece named her an honorary citizen of Athens.

Jim Tierney studied illustration at the University of the Arts in Philadelphia.

Hardcover: 384 pages
Publisher: Black Dog & Leventhal; Deluxe, Illustrated, Anniversary edition (September 26, 2017)

The Ultimate Encyclopedia of Mythology: The myths and legends of the ancient worlds, from Greece, Rome and Egypt to the Norse and Celtic lands, through Persia and India to China and the Far East

The Ultimate Encyclopedia of Mythology: The myths and legends of the ancient worlds, from Greece, Rome and Egypt to the Norse and Celtic lands, through Persia and India to China and the Far East The Ultimate Encyclopedia of Mythology

In the first half, author Arthur Cotterell describes the central mythical figures of classical Greece and Rome, the Celtic heroes and the Nordic gods. In the second part, author Rachel Storm expertly leads us through the powerful pantheon of gods and goddesses of the East from Ancient Egypt through Central Asia, to the dragon festivals of eastern lands. Pictorial features focus on recurring mythological themes, including heroes, oracles and prophecies. This comprehensive A-Z guide is timeless in its universal appeal.

About the Author

Arthur Cotterell has lectured and written widely on the mythologies and ancient civilizations of the world. He is Principal of Kingston College in London, and author of the best-selling Dictionary of World Mythology, as well as books on the civilizations of East Asia. Rachel Storm is a journalist and author specializing in religion, alternative religion and spirituality. Her works include In Search of Heaven and The Sacred Sea. She has written introductions to several books on mythology.

Paperback: 512 pages
Publisher: Southwater (September 16, 2012)

100 Characters from Classical Mythology: Discover the Fascinating Stories of the Greek and Roman Deities

100 Characters from Classical Mythology: Discover the Fascinating Stories of the Greek and Roman Deities 100 Characters from Classical Mythology

Dating back roughly 3,000 years, the gods of the ancient Greeks--and later, of the Romans--have figured prominently in legendry, poetry, drama, and the visual arts. But today's readers are often confused when they encounter the myriad names of those deities and try to understand their roles in mythology. This entertaining and mind-expanding book charts 100 of the most prominent characters from Greco-Roman mythology, including the primordial deities, the great gods of Olympus, and the shadowy inhabitants of Hades. Addressing universal themes such as love, jealousy, anger, ambition, deceit, and beauty, the stories told here make fascinating reading while they add significance to countless classical references in our civilization's literature and art. Author Malcolm Day profiles each god with a short, very readable summary of that personage's acts. He sets each deity's story within the larger context of a "family tree" that encompasses all major gods. Full-color illustrations showing memorable scenes from classical mythology include reproductions from famous paintings and photos of statuary. Separate chapters are devoted to:

  • The Primordial Gods: Gaia, Uranus, Cronus, and others
  • The Gods of Olympus: Zeus, Poseidon, Athena, Apollo, and others
  • Descendants of the Titans: Iris, Nike, Helios, Eos, Atlas, and others
  • Legendary Heroes: Jason, Oedipus, Daedelus, Paris, Helen of Troy, and others
  • Figures from the Odyssey: Odysseus, Penelope, Circe, and others

This virtual roadmap through the complexities of classical mythology features more than 100 full-color illustrations.

Hardcover: 160 pages
Publisher: Barron's Educational Series; 1 edition (March 1, 2007)


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Bulfinch's Mythology: All Volumes Bulfinch's Mythology: All Volumes

Bulfinch's Mythology: All Volumes Bulfinch's Mythology:
All Volumes

Thomas Bulfinch's compendium of Greek, Norse and Anglo-Saxon myths and legends offers superb insight into the origins, themes and contexts of ancient stories.

This edition unites all volumes into a single, overarching text perfect for referencing, and inclusive of a lengthy, comprehensive glossary. Bulfinch's Mythology is a crucial text for enthusiasts of ancient myths and lore, as well as students and teachers of classics or ancient literature. It offers a well-researched, literate and comprehensive narration upon legends both renowned and obscure, with insight into the cultures and societies which birthed these stories plentiful.

After introducing the premise of the work, Bulfinch delves sequentially into the myths and legends of Ancient Greece. We witness adventures and follies of various Gods of the Greek pantheon, while mythic peoples such as the Myrmidons and beasts like the Chimaera and the Sphinx also appear.

Following a brief appearance of the Egyptian deities and Eastern myths originating from the Indian subcontinent, Bulfinch turns his focus upon the Nordic myths of antiquity. Valhalla and the Gods conceived by the Norse peoples are examined in depth, with the emergence of Thor and the origin of the Elves particular highlights.

A large portion of this work concerns the legends of King Arthur and the Knights of the Round Table. All the famous characters of Arthurian lore are present; Lancelot, Merlin, Queen Guinevere (Guenever), Tristham and Isolde, Percival and others make their due appearance. The famous quest for the Holy Grail - or Sangreal - forms a lengthy part of this section.

Following the Arthurian myths, Bulfinch turns to the Mabinogeon - the earliest Medieval prose writings of the British Isles. Traced to the 12th and 13th centuries, these stories concern the origins of the British people, the famed Lady of the Fountain, and other aspects of chivalric society.

The book concludes with the legends of Charlemagne, where we learn how the various invasions and battles the ancient Frankish king partook in were mythologised and romanticised. Aspects of mythic lore, such as the appearance of Orcs and magical enchanting, offer a profound look into the development of these legends.

Paperback: 384 pages
Publisher: CreateSpace Independent Publishing Platform (November 1, 2016)

BULFINCH'S MYTHOLOGY

VOLUME THREE


LEGENDS OF CHARLEMAGNE

OR

ROMANCE OF THE MIDDLE AGES.

BY THOMAS BULFINCH
[1863]


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    Table of Contents    

Glossary

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THE SIEGE OF ALBRACCA


At the very time when Charlemagne was holding his plenary court and his great tournament his kingdom was invaded by a mighty monarch, who was moreover so valiant and strong in battle that no one could stand against him. He was named Gradasso, and his kingdom was called Sericane. Now, as it often happens to the greatest and the richest to long for what they cannot have, and thus to lose what they already possess, this king could not rest content without Durindana, the sword of Orlando, and Bayard, the horse of Rinaldo. To obtain these he determined to war upon France, and for this purpose put in array a mighty army.

He took his way through Spain, and, after defeating Marsilius, the king of that country, in several battles, was rapidly advancing on France. Charlemagne, though Marsilius was a Saracen, and had been his enemy, yet felt it needful to succor him in this extremity from a consideration of common danger, and, with the consent of his peers, despatched Rinaldo with a strong body of soldiers against Gradasso.

There was much fighting, with doubtful results, and Gradasso was steadily advancing into France. But, impatient to achieve his objects, he challenged Rinaldo to single combat, to be fought on foot, and upon these conditions: If Rinaldo conquered, Gradasso agreed to give up all his prisoners and return to his own country; but if Gradasso won the day, he was to have Bayard.

The challenge was accepted, and would have been fought had it not been for the arts of Malagigi, who just then returned from Angelica's kingdom with set purpose to win Rinaldo to look with favor upon the fair princess who was dying for love of him. Malagigi drew Rinaldo away from the army by putting on the semblance of Gradasso, and, after a short contest, pretending to fly before him, by which means Rinaldo was induced to follow him into a boat, in which he was borne away, and entangled in various adventures, as we have already related.

The army, left under the command of Ricciardetto, Rinaldo's brother, was soon joined by Charlemagne and all his peerage, but experienced a disastrous rout, and the Emperor and many of his paladins were taken prisoners. Gradasso, however, did not abuse his victory; he took Charles by the hand, seated him by his side, and told him he warred only for honor. He renounced all conquests, on condition that the Emperor should deliver to him Bayard and Durindana, both of them the property of his vassals, the former of which, as he maintained, was already forfeited to him by Rinaldo's failure to meet him as agreed. To these terms Charlemagne readily acceded.

Bayard, after the departure of his master, had been taken in charge by Ricciardetto, and sent back to Paris, where Astolpho was in command, in the absence of Charlemagne. Astolpho received with great indignation the message despatched for Bayard, and replied by a herald that "he would not surrender the horse of his kinsman Rinaldo without a contest. If Gradasso wanted the steed he might come and take him, and that he, Astolpho, was ready to meet him in the field."

Gradasso was only amused at this answer, for Astolpho's fame as a successful warrior was not high, and Gradasso willingly renewed with him the bargain which he had made with Rinaldo. On these conditions the battle was fought. The enchanted lance, in the hands of Astolpho, performed a new wonder; and Gradasso, the terrible Gradasso, was unhorsed.

He kept his word, set free his prisoners, and put his army on the march to return to his own country, renewing his oath, however, not to rest till he had taken from Rinaldo his horse, and from Orlando his sword, or lost his life in the attempt.

Charlemagne, full of gratitude to Astolpho, would have kept him near his person and loaded him with honors, but Astolpho preferred to seek Rinaldo, with the view of restoring to him his horse, and departed from Paris with that design.

Our story now returns to Orlando, whom we left fascinated with the sight of the sleeping beauty, who, however, escaped him while engaged in the combat with Ferrau. Having long sought her in vain through the recesses of the wood, he resolved to follow her to her father's court. Leaving, therefore, the camp of Charlemagne, he travelled long in the direction of the East, making inquiry everywhere, if, perchance, he might get tidings of the fugitive. After many adventures, he arrived one day at a place where many roads crossed, and meeting there a courier, he asked him for news. The courier replied that he had been despatched by Angelica to solicit the aid of Sacripant, king of Circassia, in favor of her father Galafron, who was besieged in his city, Albracca, by Agrican, king of Tartary. This Agrican had been an unsuccessful suitor to the damsel, whom he now pursued with arms. Orlando thus learned that he was within a day's journey of Albracca; and, feeling now secure of Angelica, he proceeded with all speed to her city.

Thus journeying he arrived at a bridge, under which flowed a foaming river. Here a damsel met him with a goblet, and informed him that it was the usage of this bridge to present the traveller with a cup. Orlando accepted the offered cup and drank its contents. He had no sooner done so than his brain reeled, and he became unconscious of the object of his journey, and of everything else. Under the influence of this fascination he followed the damsel into a magnificent and marvellous palace. Here he found himself in company with many knights, unknown to him and to each other, though if it had not been for the Cup of Oblivion of which they all had partaken they would have found themselves brothers in arms.

Astolpho, proceeding on his way to seek Rinaldo, splendidly dressed and equipped, as was his wont, arrived in Circassia, and found there a great army encamped under the command of Sacripant, the king of that country, who was leading it to the defence of Galafron, the father of Angelica. Sacripant, much struck by the appearance of Astolpho and his horse, accosted him courteously, and tried to enlist him in his service; but Astolpho, proud of his late victories, scornfully declined his offers, and pursued his way. King Sacripant was too much attracted by his appearance to part with him so easily, and having laid aside his kingly ornaments, set out in pursuit of him.

Astolpho next day encountered on his way a stranger knight, named Sir Florismart, Lord of the Sylvan Tower, one of the bravest and best of knights, having as his guide a damsel, young, fair, and virtuous, to whom he was tenderly attached, whose name was Flordelis. Astolpho, as he approached, defied the knight, bidding him yield the lady, or prepare to maintain his right by arms. Florismart accepted the contest, and the knights encountered. Florismart was unhorsed and his steed fell dead, while Bayard sustained no injury by the shock.

Florismart was so overwhelmed with despair at his own disgrace and the sight of the damsel's distress, that he drew his sword, and was about to plunge it into his own bosom. But Astolpho held his hand, told him that he contended only for glory, and was contented to leave him the lady.

While Florismart and Flordelis were vowing eternal gratitude King Sacripant arrived, and coveting the damsel of the one champion as much as the horse and arms of the other, defied them to the joust. Astolpho met the challenger, whom he instantly overthrew, and presented his courser to Florismart, leaving the king to return to his army on foot.

The friends pursued their route, and ere long Flordelis discovered, by signs which were known to her, that they were approaching the waters of Oblivion, and advised them to turn back, or to change their course. This the knights would not hear of, and, continuing their march, they soon arrived at the bridge where Orlando had been taken prisoner.

The damsel of the bridge appeared as before with the enchanted cup, but Astolpho, forewarned, rejected it with scorn. She dashed it to the ground, and a fire blazed up which rendered the bridge unapproachable. At the same moment the two knights were assailed by sundry warriors, known and unknown, who, having no recollection of anything, joined blindly in defence of their prison-house. Among these was Orlando, at sight of whom Astolpho, with all his confidence not daring to encounter him, turned and fled, owing his escape to the strength and fleetness of Bayard.

Florismart, meanwhile, overlaid by fearful odds, was compelled to yield to necessity, and comply with the usage of the fairy. He drank of the cup and remained prisoner with the rest. Flordelis, deprived of her two friends, retired from the scene, and devoted herself to untiring efforts to effect her lover's deliverance. Astolpho pursued his way to Albracca, which Agrican was about to besiege. He was kindly welcomed by Angelica, and enrolled among her defenders. Impatient to distinguish himself, he one night sallied forth alone, arrived in Agrican's camp, and unhorsed his warriors right and left by means of the enchanted lance. But he was soon surrounded and overmatched, and made prisoner to Agrican.

Relief was, however, at hand; for as the citizens and soldiers were one day leaning over their walls they descried a cloud of dust, from which horsemen were seen to prick forth, as it rolled on towards the camp of the besiegers. This turned out to be the army of Sacripant, which immediately attacked that of Agrican, with the view of cutting a passage through his camp to the besieged city. But Agrican, mounted upon Bayard, taken from Astolpho, but not armed with the lance of gold, the virtues of which were unknown to him, performed wonders, and rallied his scattered troops, which had given way to the sudden and unexpected assault. Sacripant, on the other hand, encouraged his men by the most desperate acts of valor, having as an additional incentive to his courage the sight of Angelica, who showed herself upon the city walls.

There she witnessed a single combat between the two leaders, Agrican and Sacripant. In this, at length, her defender appeared to be overmatched, when the Circassians broke the ring, and separated the combatants, who were borne asunder in the rush. Sacripant, severely wounded, profited by the confusion, and escaped into Albracca, where he was kindly received and carefully tended by Angelica.

The battle continuing, the Circassians were at last put to flight, and, being intercepted between the enemy's lines and the town, sought for refuge under the walls. Angelica ordered the drawbridge to be let down, and the gates thrown open to the fugitives. With these Agrican, not distinguished in the crowd, entered the place, driving both Circassians and Cathayans before him, and the portcullis being dropped, he was shut in.

For a time the terror which he inspired put to flight all opposers, but when at last it came to be known that few or none of his followers had effected an entrance with him, the fugitives rallied and surrounded him on all sides. While he was thus apparently reduced to the last extremities, he was saved by the very circumstance which threatened him with destruction. The soldiers of Angelica, closing upon him from all sides, deserted their defences; and his own besieging army entered the city in a part where the wall was broken down.

In this way was Agrican rescued, the city taken, and the inhabitants put to the sword. Angelica, however, with some of the knights who were her defenders, among whom was Sacripant, saved herself in the citadel, which was planted upon a rock.

The fortress was impregnable, but it was scantily victualled, and ill provided with other necessaries. Under these circumstances Angelica announced to those blockaded with her in the citadel her intention to go in quest of assistance, and, having plighted her promise of a speedy return, she set out, with the enchanted ring upon her finger. Mounted upon her palfrey, the damsel passed through the enemy's lines, and by sunrise was many miles clear of their encampment.

It so happened that her road led her near the fatal bridge of Oblivion, and as she approached it she met a damsel weeping bitterly. It was Flordelis, whose lover, Florismart, as we have related, had met the fate of Orlando and many more, and fallen a victim to the enchantress of the cup. She related her adventures to Angelica, and conjured her to lend what aid she might to rescue her lord and his companions. Angelica, accordingly, watching her opportunity and aided by her ring, slipped into the castle unseen, when the door was opened to admit a new victim. Here she speedily disenchanted Orlando and the rest by a touch of her talisman. But Florismart was not there. He had been given up to Falerina, a more powerful enchantress, and was still in durance. Angelica conjured the rescued captives to assist her in the recovery of her kingdom, and all departed together for Albracca.

The arrival of Orlando, with his companions, nine in all, and among the bravest knights of France, changed at once the fortunes of the war. Wherever the great paladin came, pennon and standard fell before him. Agrican in vain attempted to rally his troops. Orlando kept constantly in his front, forcing him to attend to nobody else. The Tartar king at length bethought him of a stratagem. He turned his horse, and made a show of flying in despair. Orlando dashed after him as he desired, and Agrican fled till he reached a green place in a wood, where there was a fountain.

The place was beautiful, and the Tartar dismounted to refresh himself at the fountain, but without taking off his helmet, or laying aside any of his armor. Orlando was quickly at his back, crying out, "So bold, and yet a fugitive! How could you fly from a single arm and think to escape?"

The Tartar king had leaped on his saddle the moment he saw his enemy, and when the paladin had done speaking, he said in a mild voice, "Without doubt you are the best knight I ever encountered, and fain would I leave you untouched for your own sake, if you would cease to hinder me from rallying my people. I pretended to fly, in order to bring you out of the field. If you insist upon fighting I must needs fight and slay you, but I call the sun in the heavens to witness I would rather not. I should be very sorry for your death."

The Count Orlando felt pity for so much gallantry, and he said, "The nobler you show yourself the more it grieves me to think that in dying without a knowledge of the true faith you will be lost in the other world. Let me advise you to save body and soul at once. Receive baptism, and go your way in peace."

Agrican replied: "I suspect you to be the paladin Orlando. If you are I would not lose this opportunity of fighting with you to be king of Paradise. Talk to me no more about your things of another world, for you will preach in vain. Each of us for himself, and let the sword be umpire."

The Saracen drew his sword, boldly advancing upon Orlando, and a combat began, so obstinate and so long, each warrior being a miracle of prowess, that the story says it lasted from noon till night. Orlando then seeing the stars come out was the first to propose a respite.

"What are we to do," said he, "now that daylight has left us?"

Agrican answered readily enough, "Let us repose in this meadow, and renew the combat at dawn."

The repose was taken accordingly. Each tied up his horse, and reclined himself on the grass, not far from the other, just as if they had been friends, Orlando by the fountain, Agrican beneath a pine. It was a beautiful clear night, and, as they talked together before addressing themselves to sleep, the champion of Christendom, looking up at the firmament, said, "That is a fine piece of workmanship, that starry spectacle; God made it all, that moon of silver, and those stars of gold, and the light of day, and the sun,--all for the sake of human kind."

"You wish, I see, to talk of matters of faith," said the Tartar. "Now I may as well tell you at once that I have no sort of skill in such matters, nor learning of any kind. I never could learn anything when I was a boy. I hated it so that I broke the man's head who was commissioned to teach me; and it produced such an effect on others that nobody ever afterwards dared so much as show me a book. My boyhood was therefore passed, as it should be, in horsemanship and hunting, and learning to fight. What is the good of a gentleman's poring all day over a book? Prowess to the knight, and preaching to the clergyman, that is my motto."

"I acknowledge," returned Orlando, "that arms are the first consideration of a gentleman; but not at all that he does himself dishonor by knowledge. On the contrary, knowledge is as great an embellishment of the rest of his attainments, as the flowers are to the meadow before us; and as to the knowledge of his Maker, the man that is without it is no better than a stock or a stone or a brute beast. Neither without study can he reach anything of a due sense of the depth and divineness of the contemplation."

"Learned or not learned," said Agrican, "you might show yourself better bred than by endeavoring to make me talk on a subject on which you have me at a disadvantage. If you choose to sleep I wish you good night; but if you prefer talking I recommend you to talk of fighting or of fair ladies. And, by the way, pray tell me, are you not that Orlando who makes such a noise in the world? And what is it, pray, that brings you into these parts? Were you ever in love? I suppose you must have been; for to be a knight, and never to have been in love, would be like being a man without a heart in his breast."

The count replied: "Orlando I am, and in love I am. Love has made me abandon everything, and brought me into these distant regions, and, to tell you all in one word, my heart is in the hands of the daughter of King Galafron. You have come against him with fire and sword, to get possession of his castles and his dominions; and I have come to help him, for no object in the world but to please his daughter and win her beautiful hand. I care for nothing else in existence."

Now when the Tartar king, Agrican, heard his antagonist speak in this manner, and knew him to be indeed Orlando, and to be in love with Angelica, his face changed color for grief and jealousy, though it could not be seen for the darkness. His heart began beating with such violence that he felt as if he should have died. "Well," said he to Orlando, "we are to fight when it is daylight, and one or other is to be left here, dead on the ground. I have a proposal to make to you--nay, an entreaty. My love is so excessive for the same lady that I beg you to leave her to me. I will owe you my thanks, and give up the siege and put an end to the war. I cannot bear that any one should love her, and that I should live to see it. Why, therefore, should either of us perish? Give her up. Not a soul shall know it."

"I never yet," answered Orlando, "made a promise which I did not keep, and nevertheless I own to you that, were I to make a promise like that, and even swear to keep it, I should not. You might as well ask me to tear away the limbs from my body, and the eyes out of my head. I could as well live without breath itself as cease loving Angelica."

Agrican had hardly patience to let him finish speaking, ere he leapt furiously on horseback, though it was midnight. "Quit her," said he, "or die!"

Orlando seeing the infidel getting up, and not being sure that he would not add treachery to fierceness, had been hardly less quick in mounting for the combat. "Never," exclaimed he; "I never could have quitted her if I would, and now I would not if I could. You must seek her by other means than these."

Fiercely dashed their horses together, in the nighttime, on the green mead. Despiteful and terrible were the blows they gave and took by the moonlight. Agrican fought in a rage, Orlando was cooler. And now the struggle had lasted more than five hours, and day began to dawn, when the Tartar king, furious to find so much trouble given him, dealt his enemy a blow sharp and violent beyond conception. It cut the shield in two as if it had been made of wood, and, though blood could not be drawn from Orlando, because he was fated, it shook and bruised him as if it had started every joint in his body.

His body only, however, not a particle of his soul. So dreadful was the blow which the paladin gave in return, that not only shield, but every bit of mail on the body of Agrican was broken in pieces, and three of his ribs cut asunder.

The Tartar, roaring like a lion, raised his sword with still greater vehemence than before, and dealt a blow on the paladin's helmet, such as he had never yet received from mortal man. For a moment it took away his senses. His sight failed, his ears tingled, his frightened horse turned about to fly; and he was falling from the saddle, when the very action of falling threw his head upwards, and thus recalled his recollection.

"What a shame is this!" thought he; "how shall I ever again dare to face Angelica! I have been fighting hour after hour with this man, and he is but one, and I call myself Orlando! If the combat last any longer I will bury myself in a monastery, and never look on sword again."

Orlando muttered with his lips closed and his teeth ground together; and you might have thought that fire instead of breath came out of his nose and mouth. He raised his sword Durindana with both his hands, and sent it down so tremendously on Agrican's shoulder that it cut through breastplate down to the very haunch, nay, crushed the saddle-bow, though it was made of bone and iron, and felled man and horse to the earth. Agrican turned as white as ashes, and felt death upon him. He called Orlando to come close to him, with a gentle voice, and said, as well as he could: "I believe on Him who died on the cross. Baptize me, I pray thee, with the fountain, before my senses are gone. I have lived an evil life, but need not be rebellious to God in death also. May He who came to save all the rest of the world save me!" And he shed tears, that great king, though he had been so lofty and fierce.

Orlando dismounted quickly, with his own face in tears. He gathered the king tenderly in his arms, and took and laid him by the fountain, on a marble rim that it had, and then he wept in concert with him heartily, and asked his pardon, and so baptized him in the water of the fountain, and knelt and prayed to God for him with joined hands.

He then paused and looked at him; and when he perceived his countenance changed, and that his whole person was cold, he left him there on the marble rim of the fountain, all armed as he was, with the sword by his side, and the crown upon his head.


    Table of Contents    

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The Complete World of Greek Mythology (The Complete Series)

The Complete World of Greek Mythology (The Complete Series) The Complete World of Greek Mythology (The Complete Series)

A full, authoritative, and wholly engaging account of these endlessly fascinating tales and of the ancient society in which they were created.

Greek myths are among the most complex and influential stories ever told. From the first millennium BC until today, the myths have been repeated in an inexhaustible series of variations and reinterpretations. They can be found in the latest movies and television shows and in software for interactive computer games. This book combines a retelling of Greek myths with a comprehensive account of the world in which they developed―their themes, their relevance to Greek religion and society, and their relationship to the landscape.

"Contexts, Sources, Meanings" describes the main literary and artistic sources for Greek myths, and their contexts, such as ritual and theater.

"Myths of Origin" includes stories about the beginning of the cosmos, the origins of the gods, the first humans, and the founding of communities.

"The Olympians: Power, Honor, Sexuality" examines the activities of all the main divinities.

"Heroic exploits" concentrates on the adventures of Perseus, Jason, Herakles, and other heroes.

"Family sagas" explores the dramas and catastrophes that befall heroes and heroines.

"A Landscape of Myths" sets the stories within the context of the mountains, caves, seas, and rivers of Greece, Crete, Troy, and the Underworld.

"Greek Myths after the Greeks" describes the rich tradition of retelling, from the Romans, through the Renaissance, to the twenty-first century.

Complemented by lavish illustrations, genealogical tables, box features, and specially commissioned drawings, this will be an essential book for anyone interested in these classic tales and in the world of the ancient Greeks.

250 illustrations, 120 in color

Series: The Complete Series
Hardcover: 240 pages
Publisher: Thames & Hudson (June 28, 2004)

The Power of Myth

The Power of Myth The Power of Myth

The national bestseller, now available in a non-illustrated, standard format paperback edition

The Power of Myth launched an extraordinary resurgence of interest in Joseph Campbell and his work. A preeminent scholar, writer, and teacher, he has had a profound influence on millions of people--including Star Wars creator George Lucas. To Campbell, mythology was the “song of the universe, the music of the spheres.” With Bill Moyers, one of America’s most prominent journalists, as his thoughtful and engaging interviewer, The Power of Myth touches on subjects from modern marriage to virgin births, from Jesus to John Lennon, offering a brilliant combination of intelligence and wit.

This extraordinary book reveals how the themes and symbols of ancient narratives continue to bring meaning to birth, death, love, and war. From stories of the gods and goddesses of ancient Greece and Rome to traditions of Buddhism, Hinduism and Christianity, a broad array of themes are considered that together identify the universality of human experience across time and culture. An impeccable match of interviewer and subject, a timeless distillation of Campbell’s work, The Power of Myth continues to exert a profound influence on our culture.

Paperback: 293 pages
Publisher: Anchor (June 1, 1991)

World Mythology: The Illustrated Guide

World Mythology: The Illustrated Guide World Mythology: The Illustrated Guide

The great myths of the world create meaning out of the fundamental events of human existence: birth, death, conflict, loss, reconciliation, the cycle of the seasons. They speak to us of life itself in voices still intelligible, yet compellingly strange and distant. World Mythology offers readers an authoritative and wide-ranging guide to these enduring mythological traditions, combining the pure narrative of the myths themselves with the background necessary for more complete understanding.

Here, noted mythology expert Roy Willis, brings together a team of nineteen leading scholars navigate a clear path through the complexities of myth as they distill the essence of each regional tradition and focus on the most significant figures and the most enthralling stories. All aspects of the world's key mythologies are covered, from tales of warring deities and demons to stories of revenge and metamorphosis; from accounts of lustful gods and star-crossed human lovers to journeys in the underworld. All are told at length and are accompanied by illuminating and readable introductory text. Also included are summaries of important theories about the origins and meaning of myth, and an examination of themes that recur across a range of civilizations.

Beautifully illustrated with more than 500 color photographs, works of art, charts, and maps, World Mythology offers readers the most accessible guide yet to the heritage of the world's imagination.

About the Author

Roy Willis, Ph.D., is Honorary Fellow in Social Anthropology at the University of Edinburgh.

Paperback: 320 pages
Publisher: Oxford University Press; 1 edition (June 29, 2006)

Bulfinch's Mythology: All Volumes

Bulfinch's Mythology: All Volumes Bulfinch's Mythology:
All Volumes

Thomas Bulfinch's compendium of Greek, Norse and Anglo-Saxon myths and legends offers superb insight into the origins, themes and contexts of ancient stories.

This edition unites all volumes into a single, overarching text perfect for referencing, and inclusive of a lengthy, comprehensive glossary. Bulfinch's Mythology is a crucial text for enthusiasts of ancient myths and lore, as well as students and teachers of classics or ancient literature. It offers a well-researched, literate and comprehensive narration upon legends both renowned and obscure, with insight into the cultures and societies which birthed these stories plentiful.

After introducing the premise of the work, Bulfinch delves sequentially into the myths and legends of Ancient Greece. We witness adventures and follies of various Gods of the Greek pantheon, while mythic peoples such as the Myrmidons and beasts like the Chimaera and the Sphinx also appear.

Following a brief appearance of the Egyptian deities and Eastern myths originating from the Indian subcontinent, Bulfinch turns his focus upon the Nordic myths of antiquity. Valhalla and the Gods conceived by the Norse peoples are examined in depth, with the emergence of Thor and the origin of the Elves particular highlights.

A large portion of this work concerns the legends of King Arthur and the Knights of the Round Table. All the famous characters of Arthurian lore are present; Lancelot, Merlin, Queen Guinevere (Guenever), Tristham and Isolde, Percival and others make their due appearance. The famous quest for the Holy Grail - or Sangreal - forms a lengthy part of this section.

Following the Arthurian myths, Bulfinch turns to the Mabinogeon - the earliest Medieval prose writings of the British Isles. Traced to the 12th and 13th centuries, these stories concern the origins of the British people, the famed Lady of the Fountain, and other aspects of chivalric society.

The book concludes with the legends of Charlemagne, where we learn how the various invasions and battles the ancient Frankish king partook in were mythologised and romanticised. Aspects of mythic lore, such as the appearance of Orcs and magical enchanting, offer a profound look into the development of these legends.

Paperback: 384 pages
Publisher: CreateSpace Independent Publishing Platform (November 1, 2016)

The Library of Greek Mythology (Oxford World's Classics)

The Library of Greek Mythology (Oxford World's Classics) The Library of Greek Mythology (Oxford World's Classics)

The only work of its kind to survive from classical antiquity, the Library of Apollodorus is a unique guide to Greek mythology, from the origins of the universe to the Trojan War.

Apollodorus' Library has been used as a source book by classicists from the time of its compilation in the 1st-2nd century BC to the present, influencing writers from antiquity to Robert Graves. It provides a complete history of Greek myth, telling the story of each of the great families of heroic mythology, and the various adventures associated with the main heroes and heroines, from Jason and Perseus to Heracles and Helen of Troy. As a primary source for Greek myth, as a reference work, and as an indication of how the Greeks themselves viewed their mythical traditions, the Library is indispensable to anyone who has an interest in classical mythology.

Robin Hard's accessible and fluent translation is supplemented by comprehensive notes, a map and full genealogical tables. The introduction gives a detailed account of the Library's sources and situates it within the fascinating narrative traditions of Greek mythology.

About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

About the Author

Robin Hard is Tutor in the Department of Philosophy at the University of Reading.

Series: Oxford World's Classics
Paperback: 336 pages
Publisher: Oxford University Press; 1 edition (August 1, 2008)

>D'aulaire's Book of Greek Myths

>D'aulaire's Book of Greek Myths D'aulaire's Book of Greek Myths

No education is complete without a large slice of Greek mythology. And there's no better way of meeting that literary quota than with the D'Aulaires' book. All the great gods and goddesses of ancient Greece are depicted in this big, beautiful classic, lovingly illustrated and skillfully told. Young readers will be dazzled by mighty Zeus, lord of the universe; stirred by elegant Athena, goddess of wisdom; intimidated by powerful Hera, queen of Olympus; and chilled by moody Poseidon, ruler of the sea. These often impetuous immortals flounce and frolic, get indiscreet, and get even. From petty squabbles to heroic deeds, their actions cover the range of godly--and mortal--personalities.

The D'Aulaires' illustrations have a memorable quality: once pored over, they will never leave the minds of the viewer. Decades later, the name Gaea will still evoke the soft green picture of lovely Mother Earth, her body hills and valleys and her eyes blue lakes reflecting the stars of her husband, Uranus the sky. No child is too young to appreciate the myths that have built the foundation for much of the world's art and literature over the centuries. This introduction to mythology is a treasure. (Ages 10 to adult) --Emilie Coulter

Hardcover: 208 pages
Publisher: Doubleday Books for Young Readers; First edition (October 19, 1962)

World Mythology: An Anthology of Great Myths and Epics

World Mythology: An Anthology of Great Myths and Epics World Mythology: An Anthology of Great Myths and Epics

World Mythology is a compilation of over 50 great myths and epics. Your students will gain an appreciation and understanding of ancient and modern cultures through myths and epics from the Middle East, Greece and Rome, the Far East and Pacific islands, the British Isles, Northern Europe, Africa, and the Americas. An introduction and historical background supplement each myth. Questions at the end of each selection prompt analysis and response.

About the Author

McGraw-Hill authors represent the leading experts in their fields and are dedicated to improving the lives, careers, and interests of readers worldwide.

Paperback: 722 pages
Publisher: McGraw-Hill Education; 3 edition (February 12, 2001)


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