According to Egyptian mythology, when the ancient Egyptian sun god Re cried, his tears turned into honey bees upon touching the ground. For this reason, the honey bee was sacrosanct in ancient Egyptian culture. From the art depicting bees on temple walls to the usage of beeswax as a healing ointment, the honey bee was a pervasive cultural motif in ancient Egypt because of its connection to the sun god Re. Gene Kritsky delivers a concise introduction of the relationship between the honey bee and ancient Egyptian culture, through the lenses of linguistics, archeology, religion, health, and economics. Kritsky delves into ancient Egypt's multifaceted society, and traces the importance of the honey bee in everything from death rituals to trade. In doing so, Kritsky brings new evidence to light of how advanced and fascinating the ancient Egyptians were. This richly illustrated work appeals to a broad range of interests. For archeology lovers, Kritsky delves into the archeological evidence of Egyptian beekeeping and discusses newly discovered tombs, as well as evidence of manmade hives. Linguists will be fascinated by Kritsky's discussion of the first documented written evidence of the honeybee hieroglyph. And anyone interested in ancient Egypt or ancient cultures in general will be intrigued by Kritsky's treatment of the first documented beekeepers. This book provides a unique social commentary of a community so far removed from modern humans chronologically speaking, and yet so fascinating because of the stunning advances their society made. Beekeeping is the latest evidence of how ahead of their times the Egyptians were, and the ensuing narrative is as captivating as every other aspect of ancient Egyptian culture.

Starting a few days after the battle of Culloden in 1747, this book follows the fortunes and experiences of a young Scot called Ewan thrown upon uncertain times along with his mum, after his dad and brothers fell at the battle. The tale follows Ewan as he tackles untold trials and tribulations, as he learns the lessons he must to survive and which he was destined to use as he heads unwittingly towards a prophecy that he was destined to fulfil, a prophecy that foretold the awakeningof the Fingalians, the Ancients, under his leadership. Whom Ewan has to unite in order to use their combined power to aid the clans during this time of distress, A distress not from the feeble greed's and needs of man, but rather from those who lead and posses them. Those of a higher unearthly evil who relish and bloat on the souls of all men, women and children of the Highlands, But first Ewan must tackle untold beast and foul creatures before he can Raise the Ancients.

Popular American essayist, novelist, and journalist CHARLES DUDLEY WARNER (1829-1900) was renowned for the warmth and intimacy of his writing, which encompassed travelogue, biography and autobiography, fiction, and more, and influenced entire generations of his fellow writers. Here, the prolific writer turned editor for his final grand work, a splendid survey of global literature, classic and modern, and it's not too much to suggest that if his friend and colleague Mark Twain-who stole Warner's quip about how "everybody complains about the weather, but nobody does anything about it"-had assembled this set, it would still be hailed today as one of the great achievements of the book world. Highlights from Volume 35 include: . the poetry of Robert Southey . the verse of Edmund Spenser . the philosophy of Benedict Spinoza . the writings of Madame de Stal . the poetry of Edmund Clarence Stedman . excerpts from Laurence Sterne's Tristram Shandy . the writings of Robert Louis Stevenson . excerpts from Harriet Beecher Stowe's Uncle Tom's Cabin . and much, much more.

Prophecy. Among the heavens exists the law of the gods. Zeus, king of Olympus, believes that the world has forgotten him and his fellow Olympians and, therefore, executes judgment to destroy half the population, which goes against the sacred law. The wise council of the gods, Athena, cannot accept her father's judgment, and with the Olympians picking sides between Zeus and Athena, a war ensues. The goddess of wisdom, along with her allies, embarks on adventures that will have battles shake all of Gaea and the cosmos for the sake of mankind. She must find allies outside the Olympians to help her fight and for a chance at being victorious against the great mountain of Olympus. Witness action, drama, betrayal, and in-depth emotion of characters that will tug at your emotions. This dark and gritty side of the Olympians within the modern day will keep you wanting more. Can Athena and her allies stop Zeus and his forces, or will mankind fall victim to his wrath?

It is generally assumed that whatever else has changed about the human condition since the dawn of civilization, basic human emotions - love, fear, anger, envy, shame - have remained constant. David Konstan, however, argues that the emotions of the ancient Greeks were in some significant respects different from our own, and that recognizing these differences is important to understanding ancient Greek literature and culture. With The Emotions of the Ancient Greeks, Konstan reexamines the traditional assumption that the Greek terms designating the emotions correspond more or less to those of today. Beneath the similarities, there are striking discrepancies. References to Greek 'anger' or 'love' or 'envy,' for example, commonly neglect the fact that the Greeks themselves did not use these terms, but rather words in their own language, such as org? and philia and phthonos, which do not translate neatly into our modern emotional vocabulary. Konstan argues that classical representations and analyses of the emotions correspond to a world of intense competition for status, and focused on the attitudes, motives, and actions of others rather than on chance or natural events as the elicitors of emotion. Konstan makes use of Greek emotional concepts to interpret various works of classical literature, including epic, drama, history, and oratory. Moreover, he illustrates how the Greeks' conception of emotions has something to tell us about our own views, whether about the nature of particular emotions or of the category of emotion itself.