By Edward James, Farah Mendlesohn
A few of the earliest books ever written, together with The Epic of Gilgamesh and the Odyssey, care for monsters, marvels, awesome voyages, and magic, and this style, referred to as delusion, remained a necessary a part of ecu literature during the upward push of the fashionable realist novel. Tracing the background of fable from the earliest years via to the origins of contemporary delusion within the twentieth century, this account discusses contributions decade via decade—from Tolkien’s Lord of the earrings trilogy and Lewis’s Narnia books within the Nineteen Fifties to J. okay. Rowling’s Harry Potter series. It also discusses and explains fantasy’s carrying on with and transforming into acceptance.
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Additional resources for A Short History of Fantasy
The reader, however, knows that they are not normally to be found together in one place on earth, that one of them, God, in order to speak to Abraham, must come from somewhere, must enter the earthly realm from some unknown heights or depths. Whence does he come, whence does he call to Abraham? We are not told. He does not come, like Zeus or Poseidon, from the Aethiopians, where he has been enjoying a sacrificial feast. Nor are we told anything of his reasons for tempting Abraham so terribly. He has not, like Zeus, discussed them in set speeches with other gods gathered in council; nor have the deliberations in his own heart been presented to us; unexpected and mysterious, he enters the scene from some unknown height or depth and calls: Abraham!
The stranger has won Penelope's good will; at his request she tells the housekeeper to wash his feet, which, in all old stories, is the first duty of hospitality toward a tired traveler. Euryclea busies herself fetching water and mixing cold with hot, meanwhile speaking sadly of her absent master, who is probably of the same age as the guest, and who perhaps, like the guest, is even now wandering somewhere, a stranger; and she remarks how astonishingly like him the guest looks. Meanwhile Odysseus, remembering his scar, moves back out of the light; he knows that, despite his efforts to hide his identity, Euryclea will now recognize him, but he wants at least to keep Penelope in ignorance.
No sooner has the old woman touched the scar than, in her joyous surprise, she lets Odysseus' foot drop into the basin; the water spills over, she is about to cry out her joy; Odysseus restrains her with whispered threats and endearments; she recovers herself and conceals her emotion. Penelope, whose attention Athena's foresight had diverted from the incident, has observed nothing. All this is scrupulously externalized and narrated in leisurely fashion. The two women express their feelings in copious direct discourse.