'Life is not all beer and skittles,' said a reflective sportsman, and all books are not fairy tales. In an imperfect state of existence, 'the peety of it is that we cannot have all things as we would like them.' Undeniably we would like all books to be fairy tales or novels, and at present most of them are. But there is another side to things, and we must face it. '"Life is real, life is earnest," as Tennyson tells us,' said an orator to whom I listened lately, and though Longfellow, not Tennyson, wrote the famous line quoted by the earnest speaker, yet there is a good deal of truth in it. The word 'earnest,' like many other good words, has been overdone. It is common to sneer at 'earnest workers,' yet where would we be without them, especially in our climate? In a Polynesian island, where the skies for ever smile, and the blacks for ever dance, earnestness is superfluous. The bread-fruit tree delivers its rolls punctually every morning, strawberries or other fruits, as nice, spring beneath the feet of the dancers; the cavern in the forest provides a roof and shelter from the sun; the sea supplies a swimming-bath, and man, in time of peace, has only to enjoy himself, eat and drink, laugh and love, sing songs and tell fairy tales. His drapery is woven of fragrant flowers, nobody is poor and anxious about food, nobody is rich and afraid of losing his money, nobody needs to think of helping others; he has only to put forth his hand, or draw his bow or swing his fishing-rod, and help himself. To be sure, in time of war, man has just got to be earnest, and think out plans for catching and spearing his enemies, and drill his troops and improve his weapons, in fact to do some work, or have his throat cut, and be put in the oven and eaten. Thus it is really hard for the most fortunate people to avoid being earnest now and then. The people whose stories are told in this book were very different from each other in many ways. The child abbess, M�re AngŽlique, ruling her convent, and at war with naughty abbesses who hated being earnest, does not at once remind us of Hannibal. The great Montrose, with his poems and his scented love-locks, his devotion to his cause, his chivalry, his death, to which he went gaily clad like a bridegroom to meet his bride, does not seem a companion for Palissy the Potter, all black and shrunk and wrinkled, and bowed over his furnaces. It is a long way from gentle Miss Nightingale, tending wounded dogs when a child, and wounded soldiers when a woman, to Charles Gordon playing wild tricks at school, leading a Chinese army, watching alone at Khartoum, in a circle of cruel foes, for the sight of the British colours, and the sounds of the bagpipes that never met his eyes and ears.
Leonora Blanche Lang, nee Alleyne was the youngest daughter of C. T. Alleyne of Clifton and Barbados. On April 17, 1875 she married Andrew Lang (1844-1912) who wrote with her The Red Romance Book (1906) and edited her book, The Red Book of Heroes (1909). The Red Book of Heroes is a collection of stories full of illustrations.
Jung's The Red Book has an enormous complexity of meaning deriving from Jung's intimate experiences, which are still being discussed and elaborated on by the Jungian community all over the world. The present volume focuses on some of its main aspects and its importance for the understanding of the work of Jung. The Red Book is often mistakenly seen as a product of a midlife crisis of Jung's, caused by his break with Freud. However, although this crisis was present, the work is better understood as a manifestation of unconscious symbolism of Jung's individuation process that started in his childhood. Certain symbols of The Red Book can be traced back to Jung's earliest years, reaching their peak during the period of writing the book and continuing throughout his creative life. Jung's work is therefore understood as having a Janus face: like the old Roman god of the gates it has two faces, one looking back to the past, the other looking to the future. If the past appears in the various figures with which Jung interacts throughout the book, such as the desert anchorite Ammonius, and the prophets and heroes of ancient times, it also looks to the future, pointing to new developments in analytical psychology and the practice of psychotherapy. Both aspects of the The Red Book are here discussed at length. The writing of Jung's book and its appearance to the general public almost a century afterwards is studied in relation to the paradigm crisis in science and the phantasy of millenarianism. Jung wrote this work when Europe was entering the strong cultural crisis of World War One, which threw up profound cultural changes. Jung's family and estate gave their final authorization for the publication of the book in the year 2000, a year full of symbolic meaning, impregnated with phantasies of millenarianism. Jung's work is considered here as a book therefore pertaining to large cultural changes, one in the past and one in the present, and both equally transformative of society and the perception of man himself.
This powerful book presents documents spanning the war between the Communists and Chinese Nationalists in the mid-1940s up to 1983, shortly before the "modernization" promoted after Mao's death. These are memoirs of those who have experienced in their own flesh how far violence of a power blinded by ideology can go, a power that, after winning its battle against armed forces, decided to exterminate its "enemies without guns", as Mao called intellectuals, believers, and political opponents.
Best known for illustrating Andrew Lang's fairy tales, H. J. Ford also depicted historical figures. Half of the compilation's images appear in the rare full-color formats of their original publication.