For centuries, familiars have assumed many forms-the heavenly lover of the shaman, the wise imp of the witch, and the elemental companion of the theurgist. But the time-honored practice of summoning a magical assistant has been mostly forsaken due to the false perception that it is both difficult and dangerous. Now, renowned occultist Donald Tyson shares his revolutionary system for safely and successfully summoning, directing, and dismissing a familiar. Accessible to dedicated beginners, these techniques do not require expertise in formal ritual, astrology, or the Kabalah. Revealed here for the first time is Tyson's unique system for generating spirit sigils based on a set of symbols called Power Glyphs. Familiars summoned by this method become valuable assistants who will do everything in their power to fulfill your goals.
The Merry Wives of Windsor, Shakespeare's only thoroughly English comedy, created an archetypal literary figure in the shape of the devious, irrepressible John Falstaff. This edition celebrates the play as a joyous exploration of language, but also places elements of its plot firmly in a continental, specifically Italian, tradition of romantic comedy. In the introduction, Melchiori draws out the complexities of Merry Wives as a multi-plot play, taking a fresh and challenging look at both textual and dating issues and examining the play's comic elements and influences. The book includes tables that illustrate, scene by scene, the passage of time and the sequence of events. The narrative structure and the logistics of performing the play are outlined and analyzed, and a casting and doubling chart is included. The introduction fully explores play's extensive performance history, both dramatic and operatic. A facsimile of the first Quarto is included as an appendix, along with a list of abbreviations and references, a catalog of Shakespeare's works and works partly by Shakespeare, and citations for the modern productions mentioned in the text, other collated editions of The Merry Wives of Windsor, and other related reading. The Arden Shakespeare has developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play's foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader.
An abomination, long thought buried, has resurfaced in a war-torn land. But now it wears an American flag. Faced with another nightmare reborn, Captain America will not stand for yet more death at the hands of a ghost from his past. Haunted by his greatest shame, Thor must renew the hunt for a familiar beast. At their side, an assemblage of allies united to end the threats no one of them could face alone. They are soldiers. Warriors. Comrades-in-arms. Mighty heroes led by a living legend, stronger together than apart. They are the Avengers.
The Merry Wives of Windsor was almost certainly required at short notice for a court occasion in 1597: Shakespeare threw into it all the creative energy that went into his Henry IV plays. Falstaff is here, with Pistol, Mistress Quickly, and Justice Shallow, in a spirited and warm-hearted `citizen comedy'. Boisterous action is combined with situational irony and rich characterization. In his introduction T. W. Craik discusses the play's probable occasion (the Garter Feast of 1597 at court), its relationship to Shakespeare's English history plays and to other sources, its textual history (with particular reference to the widely diverging 1623 Folio and 1602 Quarto), and its original quality as drama. He assesses various interpretations of the play, topical, critical, and theatrical. In the commentary he pays particular attention to expounding the literal sense (he proposes some new readings) and evoking the stage business.