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William R. Brashear deals with tragedy, not as a dramatic literary genre, but as a basic way of experiencing the universe and of reacting to it. The writer of tragedy forces readers to confront much more than a tragic flaw in a single character; he forces them to confront the gorgon's head itself, the ultimate chaos of the universe. For him, Aristotle's intellectualization of tragedy distorted it for centuries because the tragic sense of life is experiential and intuitive rather than logical and syllogistic. In the later works of Schopenhauer, Nietzsche, and Spangler, Brashear finds the beginnings of the understanding of tragedy that developed in nineteenth- and twentieth-century literature. In careful considerations of such writers as Shakespeare, Tennyson, Conrad, Housman, Shaw, O'Neill, and Arthur Miller, Brashear refines his views of tragedy and tests their validity. The chapter on Tennyson supersedes and goes well beyond The Living Will, his earlier study of the poet. Brashear's discussions of individual writers reinforce each other and point to several important conclusions about the tragic vision and tragic art. Most significant among his conclusions is that tragedy is often taken to be more benign and positive than it really is and that if the tragic experience is essentially healthy and rewarding, it is so because it involves a confrontation that broadens, strengthens, and stabilizes and not because it suggests any ultimate solution to the human condition.

In 'The Gorgon's Head,' Nathaniel Hawthorne reimagines one of Greek mythology's most enduring tales for a young audience, part of his larger collection 'A Wonder-Book for Girls and Boys'. With the delicate craft of a master storyteller, Hawthorne breathes new life into the ancient story of Perseus and Medusa, employing a Victorian prose style that both respects the source material and makes it accessible to children. The narrative, rich in allegory and symbolism, captures the essence of Greek philosophy, delivering a deeply moral tale that transcends its mythological roots to convey timeless lessons about bravery, wisdom, and the human condition. While preserving the grandeur and tragedy of the original myth, the text's adaptation is nuanced, ensuring relevance and comprehension for juvenile readers without compromising the story's complexity and literary merit. Nathaniel Hawthorne's intrigue with Greek philosophy and the culturally rich tapestry of classical myths led him to create a doorway for children to explore these ancient stories. Best known for his darker works like 'The Scarlet Letter,' Hawthorne's foray into children's literature highlights his versatility and depth as a writer. His intention was not merely to simplify, but to illuminate, allowing young minds to grapple with profound ideas within the safety of a well-crafted narrative. This commitment to intellectual and ethical storytelling marks 'The Gorgon's Head' as not just a retelling, but a thoughtful expansion of the cultural conversation around the power and potential of mythology. 'The Gorgon's Head' is recommended to those who wish to introduce the younger generation to the grandeur of Greek mythology through a lens that is both refined and considerate of youthful imagination. This story, and indeed all of Hawthorne's 'A Wonder-Book for Girls and Boys', serves as an excellent medium for parents and educators to bridge the gap between literary classicism and the engaging storytelling that resonates with children. It is an essential addition to the library of any young person beginning their journey into the rich world of literature and moral parables, and for those adults who wish to accompany them with insightful and beautiful prose that has stood the test of time.

Sir James G. Frazer (1854-1941) is famous as the author of The Golden Bough, but his work ranged widely across classics, cultural history, folklore and literary criticism as well as anthropology. A Fellow of Trinity College, Cambridge, for 62 years, Sir James G. Frazer devoted his life to research. With a preface by Anatole France, this book was first published in 1927.

Over the last three decades, the visual artist William Kentridge has garnered international acclaim for his work across media including drawing, film, sculpture, printmaking, and theater. Rendered in stark contrasts of black and white, his images reflect his native South Africa and, like endlessly suggestive shadows, point to something more elemental as well. Based on the 2012 Charles Eliot Norton Lectures, Six Drawing Lessons is the most comprehensive collection available of Kentridge’s thoughts on art, art-making, and the studio. Art, Kentridge says, is its own form of knowledge. It does not simply supplement the real world, and it cannot be purely understood in the rational terms of traditional academic disciplines. The studio is the crucial location for the creation of meaning: the place where linear thinking is abandoned and the material processes of the eye, the hand, the charcoal and paper become themselves the guides of creativity. Drawing has the potential to educate us about the most complex issues of our time. This is the real meaning of “drawing lessons.” Incorporating elements of graphic design and ranging freely from discussions of Plato’s cave to the Enlightenment’s role in colonial oppression to the depiction of animals in art, Six Drawing Lessons is an illustration in print of its own thesis of how art creates knowledge. Foregrounding the very processes by which we see, Kentridge makes us more aware of the mechanisms—and deceptions—through which we construct meaning in the world.

Medusa, the Gorgon, who turns those who gaze upon her to stone, is one of the most popular and enduring figures of Greek mythology. Long after many other figures from Greek myth have been forgotten, she continues to live in popular culture. In this fascinating study of the legend of Medusa, Stephen R. Wilk begins by refamiliarizing readers with the story through ancient authors and classical artwork, then looks at the interpretations that have been given of the meaning of the myth through the years. A new and original interpretation of the myth is offered, based upon astronomical phenomena. The use of the gorgoneion, the Face of the Gorgon, on shields and on roofing tiles is examined in light of parallels from around the world, and a unique interpretation of the reality behind the gorgoneion is suggested. Finally, the history of the Gorgon since tlassical times is explored, culminating in the modern use of Medusa as a symbol of Female Rage and Female Creativity.

The adventures of Perseus, one of the bravest and most daring of all Greek heroes, whose adventures led him to the farthest corners of the world to encounters with giants and nymphs and goddesses, and to the terrible snake-haired Gorgon.

Perseus wants to serve the King of Seriphos, but the King is jealous and sends him on an impossible errand. He is to bring back the head of Medusa.- Filled with monsters, gods, & heroes.

Nathaniel Hawthorne, an English writer interested in Greek philosophy, had an opinion that many of the classical myths were capable of being rendered into interesting reads for children. Thus, he compiled a book of 12 stories of Greek mythology with the aim to meet the comprehension of children. The story presented here is a part of the collection.