The Sonnets, Triumphs, and Other Poems of Petrarch [Illustrated]

The play is set in Troezen, a coastal town in the northeastern Peloponnese. Theseus, the king of Athens, is serving a year's voluntary exile after having murdered a local king and his sons. His illegitimate son Hippolytus, whose mother is the Amazon Hippolyta, has been trained here since childhood by the king of Troezen, Pittheus.
At the opening of the play Aphrodite, Goddess of love, explains that Hippolytus has sworn chastity and refuses to revere her. Instead, he honors the Goddess of the hunt, Artemis. This has led her to initiate a plan of vengeance on Hippolytus. When Hippolytus went to Athens two years previously Aphrodite inspired Phaedra, Hippolytus' stepmother, to fall in love with him.
Hippolytus appears with his followers and shows reverence to a statue of Artemis, a chaste goddess. A servant warns him about his overt disdain for Aphrodite, but Hippolytus refuses to listen to him.
The chorus, consisting of young married women of Troezen, enters and describes how Theseus's wife, Phaedra is not eating or sleeping. Phaedra, sickly, appears with her nurse. After an agonizing discussion, Phaedra finally gives in to her nurse's demands and confesses why she is ill: she loves Hippolytus. The nurse and the chorus are shocked. Phaedra explains that she must starve herself and die with her honor intact. However, the nurse quickly retracts her initial response and tells Phaedra that she has a magical charm to cure her. However, in an aside she reveals different plans.
The nurse tells Hippolytus of Phaedra's desire, after making him swear an oath that he will not tell anyone else. He reacts with a furious, misogynistic tirade on the 'poisonous' nature of women. Because the secret is out, Phaedra believes she is ruined. After making the chorus swear secrecy, she goes inside and hangs herself.
Theseus returns and discovers his wife's dead body. Because the chorus is sworn to secrecy, they cannot tell Theseus why she killed herself. Theseus discovers a letter on Phaedra's body, which asserts that she was raped by Hippolytus. Enraged, Theseus curses his son to death or at least exile. To execute the curse, Theseus calls upon his father, the god Poseidon, who has promised to grant his son three wishes. Hippolytus enters and protests his innocence but cannot tell the truth because of the binding oath that he swore. Taking his wife's letter as proof, Theseus exiles his son.
The chorus sings a lament for Hippolytus.
A messenger enters and describes a gruesome scene to Theseus; as Hippolytus got in his chariot to leave the kingdom, a bull roared out of the sea, frightening his horses, which dashed his chariot among the rocks, dragging Hippolytus behind. Hippolytus seems to be dying. The messenger protests Hippolytus' innocence, but Theseus refuses to believe him.
Theseus is pleased with Hippolytus' suffering until Artemis appears and tells him the truth. She explains that his son was innocent and that it was Phaedra who lied. Although the goddess admonishes Theseus' decision, she ultimately recognizes that the blame falls on Aphrodite. Hippolytus is carried in half alive, and Artemis promises to take revenge on Aphrodite by punishing the next person that Aphrodite loves. Finally, Hippolytus forgives his father, and then he dies.

Henry Wadsworth Longfellow is known as one of America's best known and best loved poets of all time. The Complete Poetical Works, covers I believe, everything ever writteb by this exquisite poet.

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The Argonautica (also Argonautika) is a Greek epic poem written by Apollonius Rhodius in the 3rd century BCE. The only surviving Hellenistic epic, the Argonautica tells the myth of the voyage of Jason and the Argonauts to retrieve the Golden Fleece from the mythical land of Colchis. Another, much less-known Argonautica, using the same body of myth, was composed by Valerius Flaccus during the time of Vespasian.

The Argonautica differs in some respects from traditional or Homeric Greek epic, though Apollonius used Homer as his principal model. The Argonautica is much shorter than Homer’s epics, with four books totaling less than 6,000 lines, while the Iliad runs to more than 15,000. Apollonius may have been influenced here by Callimachus' advocacy of brevity, or by Aristotle’s demand for "poems on a smaller scale than the old epics, and answering in length to the group of tragedies presented at a single sitting" (Poetics). Argonautica meets Aristotle's requirements; each of the Argonautica's four books are around the same length as a tragedy. Tragedies were traditionally performed in groups of four, three tragedies and a satyr play, whose total length was very nearly that of the Argonautica. Though critics have concentrated on Homeric echoes in Argonautica, direct borrowings from tragedy, such as Euripides' Medea, can be found.

Apollonius’ epic also differs from the more traditional epic in its weaker, more human protagonist Jason J.F. Carspecken noted his character traits, which are more characteristic of the genre of realism than epic, in that he was:

"chosen leader because his superior declines the honour, subordinate to his comrades, except once, in every trial of strength, skill or courage, a great warrior only with the help of magical charms, jealous of honor but incapable of asserting it, passive in the face of crisis, timid and confused before trouble, tearful at insult, easily despondent, gracefully treacherous in his dealings with the love-sick Medea..."

Argonautica is often placed in a literary tradition that leads to the Hellenistic novel. It is also unlike the archaic Epic tradition in its many discursions into local custom, aetiology, and other popular subjects of Hellenistic poetry. Apollonius also chooses the less shocking versions of some myths, having Medea, for example, merely watch the murder of Absyrtus instead of murdering him herself. The gods are relatively distant and inactive throughout much of the epic, following the Hellenistic trend to allegorize and rationalize religion. Heterosexual loves such as Jason’s are more emphasized than homosexual loves such as that of Heracles and Hylas, another trend in Hellenistic literature, as heterosexual love gained prestige.

Many critics name the love of Jason and Medea in this book as the best and most beautiful part of the Argonautica, inspiring some of Apollonius' finest writing:

So Love the Destroyer Blazed in a coil around her heart, her mind's keen anguish Now flushed her soft cheeks, now drained them of all color.

6 works of Anna Seward
English Romantic poet (1747-1809)

This ebook presents a collection of 6 works of Anna Seward. A dynamic table of contents allows you to jump directly to the work selected.

Table of Contents:
- Autumn Leaves
- December Morning
- Monody on Major André
- On a Lock of Miss Sarah Seward's Hair, Who Died in Her Twentieth Year
- Original sonnets on various subjects; and odes paraphrased from Horace
- To Mr. Henry Cary, on the Publication of His Sonnets

Are there three or four pleasing poems and are all the rest put in to fill up the book? Nay, verily! The poems in this collection are those that children love. With the exception of seven, they are short enough for children to commit to memory without wearying themselves or losing interest in the poem. If one boy learns The Overland Mail, or The Recruit, or Wynken, Blynken, and Nod, or The Song in Camp, or Old Ironsides, or I Have a Little Shadow, or The Tournament, or The Duel, nine boys out of ten will be eager to follow him. I know because I have tried it a dozen times. It is often better to divide a long poem among the children, letting each child learn a part. The sustained interest of a long poem is worth while. The Merman, The Battle of Ivry, Horatius at the Bridge, Krinken, The Skeleton in Armour, The Raven and Hervé Riel may all profitably be learned that way. Nevertheless, the child enjoys most the poem that is just long enough, and there is much to be said in favour of the selection that is adapted, in length, to the average mind; for the child hesitates in the presence of quantity rather than in the presence of subtle thought. I make claim for this collection that it is made up of poems that the majority of children will learn of their own free will. There are people who believe that in the matter of learning poetry there is no ought, but this is a false belief. There is a duty, even there; for every American citizen ought to know the great national songs that keep alive the spirit of patriotism. Children should build for their future-and get, while they are children, what only the fresh imagination of the child can assimilate.

They should store up an untold wealth of heroic sentiment; they should acquire the habit of carrying a literary quality in their conversation; they should carry a heart full of the fresh and delightful associations and memories, connected with poetry hours to brighten mature years. They should develop their memories while they have memories to develop.

Will the boy who took every poetry hour for a whole school year to learn Henry of Navarre ever regret it, or will the children who listened to it? No. It was fresh every week and they brought fresh interest in listening. The boy will always love it because he used to love it. There were boys who scrambled for the right to recite The Tournament, The Charge of the Light Brigade, The Star-Spangled Banner, and so on. The boy who was first to reach the front had the privilege. The triumph of getting the chance to recite added to the zest of it. Will they ever forget it?

The writings of Plato are numerous, and most are in the form of dialogues. This edition contains translations of three of his works: "The Apologia," "The Crito" and "The Phædo," all of which have reference to the trial, imprisonment and death of Socrates.

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AN OLD STORY

    I

    It was roses, roses, all the way,
    With myrtle mixed in my path like mad:
    The house-roofs seemed to heave and sway,
    The church-spires flamed, such flags they had,
    A year ago on this very day.

    II

    The air broke into a mist with bells,
    The old walls rocked with the crowd and cries.
    Had I said, "Good folk, mere noise repels—
    But give me your sun from yonder skies!"
    They had answered, "And afterward, what else?"

    III

    Alack, it was I who leaped at the sun
    To give it my loving friends to keep!
    Nought man could do, have I left undone:
    And you see my harvest, what I reap
    This very day, now a year is run.

The Frogs is a comedy written by the Ancient Greek playwright Aristophanes. It was performed at the Lenaia, one of the Festivals of Dionysus in Athens, in 405 BC, where it won first place. The Frogs tells the story of the god Dionysus, who, despairing of the state of Athens' tragedians, travels to Hades to bring the playwright Euripides back from the dead. (Euripides had died the year before, in 406 BC). He brings along his slave Xanthias, who is smarter and braver than Dionysus. The play opens as Xanthias and Dionysus argue over what kind of jokes Xanthias can use to open the play.

Aristophanes (circa 446 BC – 386 BC), son of Philippus, of the deme Cydathenaus, was a comic playwright of ancient Athens. Eleven of his 40 plays survive virtually complete. These, together with fragments of some of his other plays, provide the only real examples of a genre of comic drama known as Old Comedy, and they are used to define the genre. Also known as the Father of Comedy and the Prince of Ancient Comedy, Aristophanes has been said to recreate the life of ancient Athens more convincingly than any other author.