References, Synopsis

REFERENCES

Augustine, Saint, Bishop of Hippo (1956). Letters, Vol. V (204-270) (W. Parsons, Trans.). Washington, D. C.: Catholic University of America Press.

Attridge, A., Ed. (1985). Nag Hammadi Library Codex I: the Jung Codex. Vol. 1: text and translation. Vol. 2: Notes. Leiden, the Netherlands: E.J. Brill.

Barnstone, W. (1984). The Other Bible. New York: Harper & Row.

Bergin, T. (1973). Anthology of the Provencal troubadours. New Haven, CT: Yale University Press.

Blake, W. (1953). Selected poetry and prose of Blake, N. Frye, Ed. New York: Random House.

Bloom, H. (1998). Shakespeare: the invention of the human. New York: Riverhead Books.

Bonner, A., Ed. and Trans (1972). Songs of the troubadours. New York: Schocken Books.

Bowe, B.(1999). Dancing into the divine. Journal of early Christian studies 7:1, 85-104.

Calderwood, J.(1987). Creative uncreation in King Lear. In H. Bloom, Ed., William
Shakespeare's King Lear (pp. 121-137). New York: Chelsea House. (Original work pub. 1986)

Campbell, J. (1968) The masks of God: Creative mythology. New York: Penguin Books.

Cobb, N. (1984). Prospero's island: The secret alchemy at the heart of The Tempest. London: Coventure.

De  Conick, A. (1996). Ascent and vision mysticism in the Gospel of Thomas. New York: E. J. Brill.

De Rola, S. K. (1988). The golden game: alchemical engravings of the seventeenth century. London: Thames & Hudsom.

de Jong, H.M.E. (1969). Michael Maier's Atalanta Fugiens: Sources of an alchemical book of emblems. Leiden, the Netherlands: E.J. Brill.

Dixon, L. (2003). Bosch. New York: Phaedon Press.

Dummett, M. (1986). The Visconti-Sforza tarot cards. New York: George Braziler.

Epiphenius of Salamis (1987). The Panarion, Book I (F. Williams, Trans.). New York: E. J. Brill.

Erasmus, D. (1992). Sileni Alcibiades. In Adages: II.vii.1 to iii  100 (R.A.B. Mynors, Trans.) (pp. 262-282). Vol. 34 of Collected works of Erasmus. Toronto: University of Toronto Press. (Original work published 1515.)

Erasmus, D. (1991). Festina Lente. In Adages: II.i.1 to ii vi 100 (R.A.B. Mynors, Trans.) (pp. 3-17). Vol. 33 of Collected works of Erasmus.  Toronto: University of Toronto Press. (Original work published 1508.)

Erasmus, D. (1971). Praise of folly (B. Radice, Trans.). New York: Penguin Books. (Original work published 1511.)

Erasmus, D. (1877). Eloge de la Folie (de la Veaux, Trans.). With drawings by Hans Holbein.
Paris: Delarue.

Erdmann, D. (1974). The illuminated Blake. New York: Dover Publications.
  
Feinman, J. (1991). The subjectivity effect in Western literary tradition: Essays toward the release of Shakespeare's will. Cambridge, MA: MIT Press.

Foakes, R.A. (1997). Introduction and notes to The Arden Shakespeare: King Lear. Walton-on-Thames, Surrey, UK: Thomas Nelson and Sons.

Foakes, R., Ed. (1997). The Arden Shakespeare: King Lear. Walton-on-Thames, Surrey, UK: Thomas Nelson and Sons.

Frye, R. (1963). Shakespeare and Christian doctrine. Princeton, NJ: Princeton University Press

Frye, R. (1961). Perspective on Man: Literature and the Christian tradition. Philadelphia: Westminster Press.

Gatti, H. (1989). The Renaissance drama of knowledge: Giordano Bruno in England. New York: Routledge.

Goldin, F., Ed. and Trans. (1973). Lyrics of the troubadours and trouveres. Garden City: NY: Anchor Press/Doubleday.

Gombrich, E. H.,(1972). Symbolic images: Studies in the art of the Renaissance. New York: Phaedon Publishers.

Greenblatt, S. (1987). Shakespeare and the exorcists. In H. Bloom, Ed., William Shakespeare's King Lear (pp. 97-119). New York: Chelsea House. (Original work pub. 1985)

Hamilton, B. (1999). Crusaders, Cathars and the holy places. Brookfield, VT: Ashgate Publishing Co.

Hamlyn, R., and Phillips, M. (2001). William Blake. New York: Harry N. Abrams, Inc.

Hennecke, E., (1964). New Testament Apocrypha, Vol. II. W. Schneemelcher; Editor, R. McL. Wilson, English Translation Editor. Translated by E. Best, D. Hill, G. Ogg, and G. Stead. Philadelphia, PA: Westminster Press.

Hughes, T. (1992). Shakespeare and the goddess of complete being. New York: Farrar Straus Giroux.

Innes, B., 1987  The tarot: How to use and interpret the cards. London: MacDonald & Co

Jung, C.G. (1967). The philosophical tree. In R.F.C. Hull (Trans.), Alchemical studies (Vol. 13 of Collected works of C.G. Jung, pp. 251-349). Princeton, NJ: Princeton University Press. (Original work pub.1942, rev. 1954)

Jung, C.G. (1968). Psychology and Alchemy (Vol. 12 of Collected works of C.G. Jung, pp. 251-349). Princeton, NJ: Princeton University Press. (Original work pub. 1944, rev. 1952)

Jung, C.G. (1969b). Answer to Job. In R.F.C. Hull (Trans.), Psychology and religion: West and east (Vol. 11, 2nd ed., of Collected works of C.G. Jung, pp. 355-470). Princeton, NH: Princeton University Press. (Original work pub. 1952)

Jung, C.G. (1970). Mysterium Coniunctionis. (Vol. 14, 2nd ed., of Collected works of C.G. Jung.) Princeton, NJ: Princeton University Press. (Original work pub. 1955-1956)

Kaplan, S. (1986). The encyclopedia of tarot, Vol. 2. New York: U.S. Games Systems, Inc.

Kaplan, S. (1978). The ncyclopedia of tarot, Vol. 1. New York: U.S. Games Systems, Inc.

Kaplan, S., Ed. (1984). The Cary-Yale Visconti Tarocchi deck, fifteenth century. New York: U.S. Games Systems, Inc.

Lalleman, P. (1998). The Acts of John: A two-stage initiation into Johannine Gnosticism.Leuven, Belgium: Uitgeverij Peeters.

Layton, B., Ed. and Tr., (1987). The Gnostic scriptures. New York: Doubleday.

Levenson, J., Oberhuber, K., and Sheehan, J. (1973). Early Italian engravings from the National Gallery of Art. Washington, D.C.: The National Gallery of Art.

Mead, G.R.S. (1906). Fragments of a faith forgotten, 2nd ed. London: Theosophical Publishing Society.

Moakley, G. (1966). The tarot cards painted by Bonifacio Bembo for the Visconi-Sforza family: an iconographic and historical study. New York: New York Public Library.

Muir, K. (1952). Introduction to The Arden Shakespeare: King Lear. Walton-on-Thames, Surrey, UK: Thomas Nelson and Sons.

Nelli, R. (1976). Les ecrivains anti-conformistes du Moyen Age Occitain,Tome II. Paris:  Editions de Delphes.                            

Nielson, W., & Hill, J., Eds. (1942).  The Riverside Shakespeare. Cambridge, MA: Houghton Mifflin.

Nicholl, C. (1980). The chemical theater. Boston: Routledge & Kegan Paul.

Pagels, E. (1988). Adam, Eve, and the serpent. New York: Random House.

Press, A. (1971). Anthology of troubadour lyric poetry. Austin, TX: University of  Texas Press.

Pulver, M. (1955). Jesus' round dance and crucifixion (R. Mannheim, Trans.). In J. Campbell (Ed.), The Mysteries (pp. 169-193). Princeton, NJ: Princeton University Press.

Quispel, G. (2000a). Reincarnation and magic in the Asclepius. In van den Broek, R., and van Heertum, C. Eds., From Poimandres to Jacob Bohme: Gnosis, Hermetism and the Christian tradition (pp. 167-232). Amsterdam: Bibliotheca Philosophica Hermetica..

Quispel, G. (2000b). The original doctrine of Valentinus the Gnostic. In van den Broek, R., and van Heertum, C. Eds., From Poimandres to Jacob Bohme: Gnosis, Hermetism and the Christian tradition (pp. 233-264). Amsterdam: Bibliotheca Philosophica Hermetica..

Quispel, G. (1965). Gnosticism and the New Testament. Vigilae Christianae 19.

Robinson, J., Ed. (1988). The Nag Hammadi Library in English. San Francisco: Harper & Row.

Roob, A. (2001). Alchemy and mysticism: The Hermetic museum (S. Whiteside, Trans.). Koln, Germany: Taschen.

Rudolph, K. (1983). Gnosis: The nature and history of Gnosticism.  (Trans. Ed., R. McL. Wilson.) San Franciscso: Harper & Row. (Original work published 1977)

Shaheen, N. (1987). Biblical References in Shakespeare's tragedies. (Newark, Delaware).

Shakespeare, W. (1997). The Arden Shakespeare: King Lear. (Foakes, R., Ed.)  Walton-on-Thames, Surrey, UK: Thomas Nelson and Sons.

Tietze-Conrat, E. (1957). Dwarfs and jesters in art (E. Osborn, Trans.). London: Phaedon Press.

Unger, D. (1992). Introduction and annotations to St. Irenaeus of Lyons, Against the heresies, Vol. I (D. Unger, Trans.). New York: Paulist Press.

Vaughan, T. (1968) The works of Thomas Vaughan, mystic and alchemist (Eugenius Philalethes), A. Waite, Ed. New Hyde Park, NY: University Books.

Von der Haegen, A. (1998). Giotto (L. Miller, Trans.). Cologne, Germany: Koenemann.

Williams, M. (1996). Rethinking Gnosticism: An argument for dismantling a dubious category. Princeton, NJ: Princeton University Press.

Wind, Edgar (1958). Pagan mysteries in the Renaissance. New Haven CT: Yale University Press.

Wood, M. (2003). In search of Shakespeare. London: BBC.
  
Yates, F. (1964). Giordiano Bruno and the Hermetic tradition. London: Routledge & Kegan Paul..


APPENDIX:  SYNOPSIS OF KING LEAR

 In the title story, Lear, more than 80 years old, decides to divide his kingdom among his three daughters. Each must say how much they love him; the one who loves him most will get the most. The older two, Goneril and Regan, sing his praises, but the youngest, Cordelia, just makes surly comments; Lear gives her nothing. The Earl of Kent objects to Lear’s decision and is banished. Lear informs Cordelia’s suitors that she has no dowry, also casting aspersions on her character. The King of France marries her anyway, and she leaves for France.

In return for Lear’s lands, the two older daughters are to support him and a retinue of 100 knights. Goneril has them first, but soon has had enough. She says that riotous, lustful knights abuse her staff; Lear must remove the unruly half of them. Lear angrily disagrees and goes to Regan’s. Regan does not want the knights either; the two sisters meet and decide that they will permit no followers at all. Lear angrily says he will sleep out on the heath. The sisters order the doors shut against him, and Lear continues ranting, while a storm rages. The banished Kent, who has been accompanying Lear in disguise, finds shelter for Lear and his Fool. Meanwhile the two sisters learn that the youngest, Cordelia, is coming from France with an army to restore Lear’s throne. They consider killing Lear as a way of defeating this plan. Lear’s old friend Gloucester overhears and sends Lear to Dover to join Cordelia, where father and daughter are reconciled. But Cordelia’s army is defeated; she and Lear go to prison, where the captain has orders to kill them. Cordelia is hanged, but Lear kills the assassin and carries the dying Cordelia to the English camp. There Cordelia never regains consciousness, and Lear dies of the strain and his grief.
  
The second story involves Lear’s friend the Earl of Gloucester and his two sons. The younger son, Edmund, is illegitimate; he finds it unjust that he cannot inherit. Edmund forges a letter, allegedly from his older brother Edgar, which Edmund shows to their father; it proposes that the two of them kill their father and split his estate now. The father tries to apprehend Edgar. On the advice of his brother, the unwitting Edgar flees; then he takes the disguise of a homeless mentally ill person. On the heath he meets Lear and his group and they share a hut. Meanwhile, Edmund shows the older Lear sisters a letter his father got about Cordelia’s coming with a French army. The sisters decide that Gloucester has been plotting with the French and is a traitor. Regan’s husband puts out Gloucester’s eyes and sends him into the storm. Gloucester at least knows now that Edmund has been the evil son. Edgar, the older one, meets his father on the heath but keeps his disguise. Edgar dissuades his father from suicide. They meet Lear, who appears insane. Edgar fights and kills his brother, who besides plotting to become Earl of Gloucester wanted to become king by marrying one or other of the sisters. Out of jealousy, Goneril poisons Regan, planning to kill her own husband later. Her ambitions exposed, she kills herself. At the end, only Edgar, Kent, and Goneril’s husband, the Earl of Albany, are left alive. Edgar will probably be king, but he shows no enthusiasm for the future.