ANDREW LANG, página 5 de 21

Há muitos e muitos anos, antes mesmo da invenção da escrita, as pessoas contavam histórias. As mais antigas remontam ao Egito e ao Extremo Oriente, mas possuem raízes nos quatro cantos do mundo: onde

In "The Story of Prince Ahmed and the Fairy Paribanou," Andrew Lang weaves a mesmerizing tapestry of enchantment reminiscent of classic Middle Eastern folklore. The narrative follows Prince Ahmeds perilous quest for love and adventure, guided by the ethereal fairy Paribanou. With its lush descriptive prose and vivid characters, LangAos storytelling captures the whimsical essence of traditional tales, all while incorporating his own unique style that blends elements of fantasy and moral allegory. The work is deeply rooted in the rich cultural heritage of the orient, reflecting both the timeless themes of love and heroism as well as the intricate narrative forms often found in the Arabian Nights tradition. Andrew Lang, a prominent Scottish author and collector of folklore, was deeply immersed in the study of myths and fairy tales, drawing inspiration from various cultures. His extensive background in anthropology and literature enabled him to adapt and reinterpret classic narratives, making them accessible to a broader audience. LangAos passion for storytelling shines through in his collected works, which include a multitude of fairy tales from diverse cultural backgrounds. This tale exemplifies his ability to fuse scholarly insight with engaging prose. I highly recommend "The Story of Prince Ahmed and the Fairy Paribanou" to readers who appreciate fairy tales that transcend their cultural origins while exploring universal themes of love and adventure. LangAos masterful storytelling not only entertains but also educates, making this work a profound addition to any literary collection.

The Fairy Books, or Coloured Fairy Books is a collection of fairy tales divided into twelve books, each associated with a different colour. First published in 1894, The Yellow Fairy Book is the 4th v

This comprehensive Book presents the complete works or all the significant works of this famous and brilliant writer in one ebook.

The Fairy Books, or Coloured Fairy Books is a collection of fairy tales divided into twelve books, each associated with a different colour. The collection has been incalculably important. First published in 1889, The Blue Fairy Book is the 1st volume in this series.

Andrew Lang - The Arabian Nights has enthralled readers for centuries. These are the tales that saved the life of Shahrazad, whose husband, the king, executed each of his wives after a single night of marriage. Beginning an enchanting story each evening, Shahrazad always withheld the ending: A thousand and one nights later, her life was spared forever.

Andrew Langs Fairy Books are a series of twenty-five collections of true and fictional stories for children, published between 1889 and 1913. The best known books of the series are the twelve collections of fairy tales, known as Andrew Langs "Coloured" Fairy Books or Andrew Langs Fairy Books of Many Colors. In all, the volumes feature 798 stories, besides the 153 poems in The Blue Poetry Book. Andrew Lang (18441912) was a Scots poet, novelist, and literary critic. As acknowledged in the prefaces, although Lang himself made most of the selections, his wife and other translators did a large portion of the translating and retelling of the actual stories. Four of the later volumes (from 1908 to 1912) were published as by "Mrs. Lang". According to Anita Silvey, "The irony of Langs life and work is that although he wrote for a professionliterary criticism; fiction; poems; books and articles on anthropology, mythology, history, and travel ... he is best recognized for the works he did not write." The twelve Coloured Fairy Books were illustrated by H. J. Ford (Henry Justice Ford), the first two volumes shared with G. P. Jacomb-Hood and Lancelot Speed respectively, the sequels alone. Several other volumes were illustrated by Ford. A. Wallis Mills also contributed some illustrations. The first edition consisted of 5000 copies, which sold for 6 shillings each. The book assembled a wide range of tales, with seven from the Brothers Grimm, five from Madame dAulnoy, three from the Arabian Nights, and four Norwegian fairytales, among other sources. The Blue Fairy Book was the first volume in the series, and so it contains some of the best known tales, taken from a variety of sources.

Andrew Lang was a Scottish writer and poet. Lang is best known, however, for his collections of folk and fairy tales. This collection includes the following:The Blue Fairy BookThe Red Fairy BookThe Green Fairy BookThe Yellow Fairy BookThe Pink Fairy BookThe Grey Fairy BookThe Violet Fairy BookThe Crimson Fairy BookThe Brown Fairy BookThe Orange Fairy BookThe Olive Fairy BookThe Lilac Fairy Book

"Myth, Ritual and Religion" in 2 volumes is one of the best-known works by a Scottish author Andrew Lang first published in 1887, in which he explained the "irrational" elements of mythology as survivals from more primitive forms. This carefully crafted e-artnow ebook is formatted for your eReader with a functional and detailed table of contents.Volume 1:Systems of MythologyNew System ProposedThe Mental Condition of Savages Confusion With Nature TotemismThe Mental Condition of Savages Magic Metamorphosis Metaphysic PsychologyNature MythsNon-aryan Myths of the Origin of the World and of ManIndo-aryan Myths Sources of EvidenceIndian Myths of the Origin of the World and of ManGreek Myths of the Origin of the World and ManGreek Cosmogonic MythsSavage Divine MythsVolume 2:Gods of the Lowest RacesAmerican Divine MythsMexican Divine MythsThe Mythology of EgyptGods of the Aryans of IndiaGreek Divine Myths:ApolloArtemisDionysusAtheneHermesDemeterHeroic and Romantic Myths...

In Oxford, Andrew Lang masterfully weaves a rich tapestry of narrative that captures the essence of one of EnglandAos most prestigious academic landscapes. Through a blend of lyrical prose and vivid imagery, Lang takes readers on a contemplative journey, exploring the historical evolution, architectural marvels, and the vibrant intellectual atmosphere of the university city. His style, a melding of descriptive detail and thematic resonance, invites readers to reflect on the interplay between place and identity within a scholarly context, making it an invaluable piece of literature in the realm of educational history. Andrew Lang was not only an accomplished writer but also a noted scholar and folklorist, whose fascination with culture and tradition greatly informed his literary pursuits. Born in 1844, Lang had a significant academic background and was deeply entrenched in the literary circles of his time. This unique perspective on Oxford, his own educational experiences, and his understanding of the universitys influence on literature and thought guided LangAos narrative choices in Oxford, infusing the text with authenticity and depth. This book is a must-read for anyone interested in the confluence of literature, history, and education. LangAos evocative portrayal of Oxford serves not only as a travelogue but as an exploration of the enduring significance of academic environments. Whether you are a student of literature, history, or simply an admirer of beautiful prose, Oxford will entice, educate, and inspire you.

In "How to Fail in Literature: A Lecture," Andrew Lang presents a thought-provoking examination of literary endeavors, framed around the pitfalls and absurdities that often confront writers. Through a distinctive blend of wit, irony, and rhetorical flourish, Lang deftly articulates his thesis, offering insights into the nature of failure and the artistic process. The lecture, initially delivered to an audience of aspiring authors, is steeped in the literary context of the late 19th century, a time when traditional literary norms were increasingly challenged by burgeoning avant-garde movements. His keen observations are punctuated by anecdotes and examples, painting a vivid picture of the struggles that accompany the pursuit of literary acclaim. Andrew Lang, a celebrated Scottish poet, novelist, and literary critic, was deeply immersed in the literary world, contributing to various genres and formats. His extensive knowledge of folklore and mythology, coupled with an unyielding passion for literature, informed his perspective on what constitutes literary success and failure. Langs sharp critique of literary pretensions reflects his own experiences as a writer, revealing the obstacles that even the most talented individuals navigate in their creative journeys. This lecture is an essential read for anyone involved in the literary arts, from budding writers to seasoned authors. Langs humorous and insightful dissection of failure encourages readers to embrace their own missteps as integral parts of the creative process. With its timeless wisdom, "How to Fail in Literature" is not just a cautionary tale; it is an invitation to explore the beautifully chaotic world of writing.

This book is the natural sequel of Social Origins and Primal Law, published three years ago. In Primal Law, Mr. J. J. Atkinson sought for the origin of marriage prohibitions in the social conditions of early man, as conceived of by Mr. Darwin. Man, in the opinion of the great naturalist, was a jealous animal; the sire, in each group, kept all his female mates to himself, expelling his adolescent male offspring. From this earliest and very drastic restriction, Mr. Atkinson, using the evidence of "avoidances" between kinsfolk in savage society, deduced the various prohibitions on sexual unions. His ingenious theory has been received with some favour, where it has been understood.Mr. Atkinson said little about totemism, and, in Social Origins, I offered a theory of the Origin of Totemism; an elaboration of the oldest of all scientific theories, that of Garcilasso de la Vega, an Inca on the maternal side, the author of the History of the Incas. Totems, he conceived, arose in the early efforts of human groups to differentiate each from the others. Mr. Max Muller and Dr. Pikler set forth the same notion, independently. The "clans," or, as I say, "groups," needed differentiation by names, such as are still used as personal names by savages, and by names easily expressed in pictographs, and easily signalled in gesture language. The origin of the group names, or sobriquets, once forgotten, the names, as usual, suggested a relation between the various name-giving objects and the groups which bore them. That relation was explained by the various myths which make the name-giving animals, plants, and other objects, mystic kinsmen, patrons, or ancestors of the groups named after them. From reflection on this mystic rapport between the objects and the human groups of the same names, arose the various superstitions and tabus, including that which prohibits unions between men and women of the same animal group-name, whether by locality or maternal descent.

"...The story of Kaspar Hauser, a boy, apparently idiotic, who appeared, as if from the clouds, in Nuremberg (1828), divided Germany into hostile parties, and caused legal proceedings as late as 1883. Whence this lad came, and what his previous adventures had been, has never been ascertained. His death by a dagger-wound, in 1833whether inflicted by his own hand or that of anotherdeepened the mystery. According to one view, the boy was only a waif and an impostor, who had strayed from some peasant home, where nobody desired his return. According to the other theory, he was the Crown Prince of Baden, stolen as an infant in the interests of a junior branch of the House, reduced to imbecility by systematic ill-treatment, turned loose on the world at the age of sixteen, and finally murdered, lest his secret origin might be discovered.

The sin of witchcraft is as the sin of rebellion. The idea which inspires this text probably is that a person who seeks to obtain his ends by witchcraft is rebelling against the deity or deities through whom alone these ends should be sought. Witchcraft is also an insult and injury to the official priests, who regard the witch as the surgeon regards the bone-setter, or as the geologist regards the dowser or water-finder who uses the divining-rod. Magic or witchcraft falls into two main classes. The former is magic of the sort used by people who think that things accidentally like each other influence each other. You find a stone shaped like a yam, and you sow it in the yam plot You find a stone like a duck, and expect to have good duck-shooting while you carry the stone about in a bag. In the same way the part influences the whole; you burn some of a mans hair, and so he catches a fever. Imitation works in the same manner; you imitate the emergence of grubs from the larv, and you expect grubs to emerge. All magic of this kind is wrought by material objects, sticks, stones, hair, and so forth, which sometimes have been charmed by songs chanted over them. Among the Arunta of Central Australia, in many respects a backward people, we do hear of an evil spirit influencing the material object which has been charmed.[1] We also hear of spirits which instruct men in medical magic. But, as a rule, the magic is materialistic. It really does produce effects, by suggestion: a man dies and a woman is won, if they know that magic is being worked to kill or woo. The second sort of magic acts by spells which constrain spirits or gods to do the will of the magician. This magic involves itself in religion when the magical ceremonies are, so to speak, only symbolic prayers expressed in a kind of sign-language. But if the idea is to put constraint by spells on a god or spirit, then the intention is magical and rebellious. Though the official priest of a savage god may use magic in his appeal to that deity, he is not a wizard. It is the unofficial practitioner who is a witch, just as the unqualified medical practitioner is a quack.

If we could see in a magic mirror the country now called Scotland as it was when the Romans under Agricola (81 A.D.) crossed the Border, we should recognise little but the familiar hills and mountains. The rivers, in the plains, overflowed their present banks; dense forests of oak and pine, haunted by great red deer, elks, and boars, covered land that has long been arable. There were lakes and lagoons where for centuries there have been fields of corn. On the oldest sites of our towns were groups of huts made of clay and wattle, and dominated, perhaps, by the large stockaded house of the tribal prince. In the lochs, natural islands, or artificial islets made of piles (crannogs), afforded standing-ground and protection to villages, if indeed these lake-dwellings are earlier in Scotland than the age of war that followed the withdrawal of the Romans.

Since the first publication of Custom and Myth, many other works have appeared, dealing on the same principles with matters of belief, fable and ritual. Were the book to be re-written, numerous fresh pieces of evidence might be adduced in support of its conclusions. In Mr. Frazers Golden Bough (Macmillan) the student will find a carefully conceived argument, and a large collection of testimonies, bearing on the wide diffusion, among savages and civilised peoples, of ancient rites and ancient ideas. The works of Mannhardt have practically been introduced to the English reader by Mr. Frazer, with much new matter of his own. The main topics are the worship of human gods and the superstitions connected with vegetation. To push a theory too far is the common temptation of mythologists, and perhaps Mr. Frazers cornstalk does rather threaten to overshadow the whole earth and exclude the light of sun and sky. But the reader, whatever his opinions, will find great pleasure and profit in Mr. Frazers remarkable studies, and in those of Mannhardt, which were unknown to myself when I wrote Custom and Myth.

Is there any human institution which can be safely called "Totemism"? Is there any possibility of defining, or even describing Totemism? Is it legitimateis it even possible, with due regard for "methodology" and logicto seek for the "normal" form of Totemism, and to trace it through many Protean changes, produced by various causes, social and speculative? I think it possible to discern the main type of Totemism, and to account for divergences.

By the nature of things this book falls under two divisions. The first eight chapters criticise the current anthropological theory of the origins of the belief in spirits. Chapters ix.-xvii., again, criticise the current anthropological theory as to how, the notion of spirit once attained, man arrived at the idea of a Supreme Being. These two branches of the topic are treated in most modern works concerned with the Origins of Religion, such as Mr. Tylers "Primitive Culture," Mr. Herbert Spencers "Principles of Sociology," Mr. Jevonss "Introduction to the History of Religion," the late Mr. Grant Allens "Evolution of the Idea of God," and many others. Yet I have been censured for combining, in this work, the two branches of my subject; and the second part has been regarded as but faintly connected with the first.

In the quaint seaside town of Summerisle, where the sun casts a golden glow and the waves whisper secrets, a sinister undercurrent lurks beneath the idyllic facade. As summer draws to a close, a group of unsuspecting tourists arrives, eager to embrace the tranquility of the island. But their idyllic retreat soon transforms into a nightmare when they stumble upon a chilling discovery: a body washed ashore, bearing the mark of an ancient ritual. As the line between reality and illusion blurs, the tourists find themselves ensnared in a web of pagan beliefs and dark traditions. With each passing day, the islands secrets unravel, revealing a sinister truth that threatens to consume them all.

Step into a realm of enchantment with "A Collection of Ballads (Unabridged)" by Andrew Lang. This timeless anthology gathers over 200 captivating ballads, each a tapestry of love, loss, adventure, and the supernatural. From the haunting melodies of "The Twa Sisters" to the thrilling exploits of "Sir Patrick Spens," these ballads transport you to a world where the boundaries between reality and imagination blur. Immerse yourself in the rich tapestry of Scottish, English, and American folklore, where heroes and villains, fairies and giants, dance across the pages.