Reproduction of the original: A History of Literary Criticism in the Renaissance by Joel Elias Spingarn

Ann, seer of skeins in the auras and patterns of love, hate, envy, greed, admirationall the human emotions in other wordsis still learning the ins and outs of these weaves when she marries Allen Herrick, whom she (and, possibly, you) met when she met him earlier in The Skein. A very wise writer once wrote that books end, but stories never do.* This book begins as that book ends, with the marriage of Ann and Allen, who now live happily in the house he found for her in The Skein. Their friends, Letty and Gil, decide they like the idea and marry shortly after. Then Gil is strongarmed into painting a lovely woman wearing, among other things, a fabulous antique ruby necklace. Gil is accused of stealing this necklace and is taken by the husband of the lovely lady to the local jail where Colonel Lord Farthington is thwarted by Superintendent Oakes from having Gil arrested. Instead, Farthington is himself put into protective custody as the search for the rubies (possibly artificial) begins. This protective action is taken too late, however, as a dark car drives slowly past the group, and the colonel is slain. Ann and Allen stay in the center of the action, which builds to include the finding of two more ruby (?) necklaces buried in the gardens of an elegant country house which, shortly after, explodes. The plot includes a medicopter landing on the roof of a nearby country mansion which is found to have a landing area already prepared, but not for them. Murder by hatpin and mob hysteria follow as the villain seeks to gain control of the skein, giving him the power to create chaos in the minds of those who hate, while Ann and Allen struggle to create a powerful protection spun out of the powers they find in the secrets of the skein. *Sir Terry Pratchett The Renaissance of the Skeins tangled web will appeal to those who like character-driven drama with plenty of chuckles. --ForeWord Clarion Review

The Inarticulate Renaissance explores the conceptual potential of the disabled utterance in the English literary Renaissance. What might it have meant, in the sixteenth-century "age of eloquence," to speak indistinctly; to mumble to oneself or to God; to speak unintelligibly to a lover, a teacher, a court of law; or to be utterly dumfounded in the face of new words, persons, situations, and things? This innovative book maps out a "Renaissance" otherwise eclipsed by cultural and literary-critical investments in a period defined by the impact of classical humanism, Reformation poetics, and the flourishing of vernacular languages and literatures. For Carla Mazzio, the specter of the inarticulate was part of a culture grappling with the often startlingly incoherent dimensions of language practices and ideologies in the humanities, religion, law, historiography, print, and vernacular speech. Through a historical analysis of forms of failed utterance, as they informed and were recast in sixteenth-century drama, her book foregrounds the inarticulate as a central subject of cultural history and dramatic innovation. Playwrights from Nicholas Udall to William Shakespeare, while exposing ideological fictions through which articulate and inarticulate became distinguished, also transformed apparent challenges to "articulate" communication into occasions for cultivating new forms of expression and audition.

The long period from the Renaissance to the nineteenth century supplied numerous sources for Kierkegaard's thought in any number of different fields. The present volume covers the period from the birth of Savonarola in 1452 through the beginning of the nineteenth century and into Kierkegaard's own time. The Danish thinker read authors representing vastly different traditions and time periods, and a diverse range of genres including philosophy, theology, literature, drama and music. The present volume consists of three tomes that are intended to cover Kierkegaard's sources in these different fields of thought.Tome I is dedicated to the philosophers of this period who played a role in shaping Kierkegaard's intellectual development.

Reproduction of the original: Paris by Grant Allen

The Renaissance New Testament is a monumental 18-volume work more than fifty years in the making. Randolph O. Yeager has realized here a lifelong dream, and created one of the most important biblical works of the twentieth century. It offers: The King James Version verse by verse The Yeager translation Exhaustive Greek/English concordance Lexicographical analysis Each Greek word in order of occurrence Grammatical identification The Greek text verse by verse The literal meaning A harmony of the Gospels Commentary Each volume contains approximately 600 pages, with the complete set totaling more than 10,000 pages. A true Renaissance man, Dr. Yeager holds a Ph.D. in American history, took his seminary training at Northern Baptist Theological Seminary in Chicago, and is a former university professor. He has twelve years of experience as an evangelist and has spoken at Bible conferences in forty-five states. In 1988 the Laymen's National Bible Committee honored Yeager with a Citation of Appreciation for outstanding service to the Bible cause.Publishers Weekly featured an article on Yeager and the completion of The Renaissance New Testament in its 1985 Spring Religious Books issue.

Playwrights also made extraordinary use of metaphors involving the written and printed word to describe the workings of the mind and the interaction of people.

This title explores the way ancient epistolary theory and practice were understood and imitated in the European Renaissance. Eden draws chiefly upon Aristotle, Cicero, and Seneca to show how the classical genre of the 'familiar' letter emerged centuries later in the intimate styles of Petrarch Erasmus, and Montaigne.

This fourth volume traces the history of Renaissance philosophy and seventeenth century rationalism, covering Descartes and the birth of modern philosophy.